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A collection of scholarly works about individual liberty and free markets. A project of Liberty Fund, Inc.
The Works of Christopher Marlowe, ed. A.H. Bullen (London: John C. Nimmo, 1885). Vol. 3. https://oll.libertyfund.org/titles/1709,
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Vol. 3 contains Hero and Leander and other poetry.
The text is in the public domain.
This material is put online to further the educational goals of Liberty Fund, Inc. Unless otherwise stated in the Copyright Information section above, this material may be used freely for educational and academic purposes. It may not be used in any way for profit.
Four hundard copies of this Edition have been printed and the type distributed. No more will be published.
Two editions of Hero and Leander appeared in 1598. The first edition, containing only Marlowe's portion of the poem, is entitled Hero and Leander. By Christopher Marloe. London, Printed by Adam Islip, for Edward Blunt. 1598. 4to. The title-page of the second edition, which contains the complete poem, is Hero and Leander: Begun by Christopher Marloe; and finished by George Chapman. Ut Nectar, Ingenium. At London, Printed by Felix Kingston, for Paule Linley, and are to be solde in Paules Churcheyard, at the signe of the Blacke-beare. 1598. 4to.
Two copies of the second edition were discovered a few years ago at Lamport Hall (the seat of Sir Charles Isham, Bart.) by Mr. Charles Edmonds. The existence of this edition was previously unknown. Later editions are:—
Hero and Leander: Begunne by Christopher Marloe: Whereunto is added the first booke of Lucan translated line for line by the same Author. Ut Nectar, Ingenium. At London Printed for John Flasket, and are to be solde in Paules Church-yard, at the signe of the Blacke-beare. 1600. 4to.
Hero and Leander: Begunne by Christopher Marloe, and finished by George Chapman. Ut Nectar, Ingenium. At London. Imprinted for John Flasket, and are to be sold in Paules Church-yard, at the signe of the blacke Beare. 1606. 4to.
Hero and Leander: Begunne by Christopher Marloe, and finished by George Chapman. Ut Nectar, Ingenium. At London. Imprinted for Ed. Blunt and W. Barret, and are to be sold in Pauls Church-yard, at the signe of the blacke Beare. 1609. 4to.
Hero and Leander: Begunne by Christopher Marloe, and finished by George Chapman. Ut Nectar, Ingenium. London. Printed by W. Stansby for Ed. Blunt and W. Barret, and are to be sold in Pauls Church-yard, at the signe of the Blacke Beare. 1613. 4to.
Hero and Leander: Begun by Christopher Marloe, and finished by George Chapman. Ut Nectar, Ingenium. London, Printed by A. M. for Richard Hawkins: and are to bee sold at his Shop in Chancerie-Lane, neere Serieants Inne. 1629. 4to.Edition: current; Page: [none]
Hero and Leander: Begun by Christopher Marloe, and finished by George Chapman. Ut Nectar, Ingenium. London: Printed by N. Okes for William Leake, and are to be sold at his shop in Chancery-lane neere the Roules. 1637. 4to.
I have not had an opportunity of seeing the 4tos. of 1598 or the 4to. of 1600. For the text of the Isham copy, I am indebted to the Works of George Chapman: Poems and Minor Translations, 1875. I have examined the texts of eds. 1606, 1613, 1629, 1637; and my friend Mr. C. H. Firth has examined for me the Bodleian copy of ed. 1600, in the margin of which Malone has noted the readings of the first edition.
Sir, we think not ourselves discharged of the duty we owe to our friend when we have brought the breathless body to the earth; for albeit the eye there taketh his ever-farewell of that beloved object, yet the impression of the man that hath been dear unto us, living an after-life in our memory, there putteth us in mind of farther obsequies due unto the deceased; and namely of the performance of whatsoever we may judge shall make to his living credit and to the effecting of his determinations prevented by the stroke of death. By these meditations (as by an intellectual will) I suppose myself executor to the unhappily deceased author of this poem; upon whom knowing that in his lifetime you bestowed many kind favours, entertaining parts of reckoning and worth which you found in him with good countenance and liberal affection, I cannot but see so far into the will of him dead, that whatsoever issue of his brain should chance to come abroad, that the first breath it should take might be the gentle air of your liking; for, since his self had been accustomed thereunto, it would prove more agreeable and thriving to his right children than any other foster countenance whatsoever. At this time seeing that this unfinished tragedy happens under my hands to be imprinted; of a double duty, the one to yourself, the other to the deceased, I present the same to your most favourable allowance, offering my utmost self now and ever to be ready at your worship's disposing:
The Argument1 of the First Sestiad.
The Argument of the Second Sestiad.
I present your ladyship with the last affections of the first two Lovers that ever Muse shrined in the Temple of Memory, being drawn by strange instigation to employ some of my serious time in so trifling a subject, which yet made the first Author, divine Musaeus eternal. And were it not that we must subject our accounts of these common received conceits to servile custom, it goes much against my hand to sign that for a trifling subject on which more worthiness of soul hath been shewed, and weight of divine wit, than can vouchsafe residence in the leaden gravity of any money-monger; in whose profession all serious subjects are concluded. But he that shuns trifles must shun the world; out of whose reverend heaps of substance and austerity I can and will ere long single or tumble out as brainless and passionate fooleries as ever panted in the bosom of the most ridiculous lover. Accept it, therefore, good Madam, though as a trifle, yet as a serious argument of my affection; for to be thought thankful for all free and honourable favours is a great sum of that riches my whole thrift intendeth.Edition: current; Page: [39]
Such uncourtly and silly dispositions as mine, whose contentment hath other objects than profit or glory, are as glad, simply for the naked merit of virtue, to honour such as advance her, as others that are hard to commend with deepliest politique bounty.
It hath therefore adjoined much contentment to my desire of your true honour to hear men of desert in court add to mine own knowledge of your noble disposition how gladly you do your best to prefer their desires, and have as absolute respect to their mere good parts as if they came perfumed and charmed with golden incitements. And this most sweet inclination, that flows from the truth and eternity of Nobles[se], assure your Ladyship doth more suit your other ornaments, and makes more to the advancement of your name and happiness of your proceedings, than if like others you displayed ensigns of state and sourness in your forehead, made smooth with nothing but sensuality and presents.
This poor Dedication (in figure of the other unity betwixt Sir Thomas and yourself) hath rejoined you with him, my honoured best friend; whose continuance of ancient kindness to my still-obscured estate, though it cannot increase my love to him which hath been entirely circular; yet shall it encourage my deserts to their utmost requital, and make my hearty gratitude speak; to which the unhappiness of my life hath hitherto been uncomfortable and painful dumbness.
The Argument of the Third Sestiad
The Argument of the Fourth Sestiad.
The Argument of the Fifth Sestiad.
The Argument of the Sixth Sestiad.
All the old editions of Marlowe's translation of the Amores are undated, and bear the imprint Middleburgh (in various spellings). It is probable that the copy which Mr. Charles Edmonds discovered at Lamport Hall, Northamptonshire (the seat of Sir Charles Isham, Bart.), is the earliest of extant editions. The title-page of this edition is—Epigrammes and Elegies. By I. D. and C. M. At Middleborugh 12mo. After the title-page come the Epigrammata, which are signed at the end "I. D." (the initials of Sir John Davies). Following the Epigrammata is a copy of verses headed Ignoto, and then comes a second title-page—Certaine of Ovid's Elegies. By C. Marlowe. At Middleborough. In his preface to a facsimile reprint of the little volume, Mr. Edmonds states his conviction that this edition, not withstanding the imprint Middleborough, was issued at London from the press of W. Jaggard, who in 1599 printed the Passionate Pilgrime. He grounds his opinion not only on the character of the type and of the misprints, but on the fact that there would be no need for the book to be printed abroad in the first instance. It was not (he thinks) until after June 1599—when (with other books) it was condemned by Archbishop Whitgift to be burnt—that recourse was had to the expedient of reprinting it at Middleburgh. In the notes I refer to this edition as the Isham copy.
The next edition, which has the same title-pages as the Isham copy—Epigrammes and Elegies by I. D. and C. M. at Middleborugh, 12mo.—was certainly, to judge from its general appearance, printed abroad, and by foreigners. The text agrees in the main with that of the Isham copy, but the corruptions are more numerous. I have followed Dyce in referring to this edition as Ed. A.
The Isham copy and Ed. A contain only a portion of the Elegies. The complete translation appeared in All Ovid's Elegies: 3 Bookes. By C. M. Epigrams by I. D. At Middleborugh, 12mo. (Ed. B); and in another edition with the same title-page (Ed. C). The readings of Ed. C I have occasionally borrowed from Dyce. It is supposed that the book "continued to be printed with Middleburgh on the title, and without date, as late as 1640" (Hazlitt).Edition: current; Page: [105]
The same, by B. I.2
Lucans First Booke Translated Line for Line, By Chr. Marlow. At London, Printed by P. Short, and are to be sold by Walter Burre at the Signe of the Flower de Luce in Paules Churchyard, 1600, 4to.
This is the only early edition. The title-page of the 1600 4to. of Hero and Leander has the words, "Whereunto is added the first booke of Lucan;" but the two pieces are not found in conjunction.
Blunt,2 I propose to be blunt with you, and, out of my dulness, to encounter you with a Dedication in memory of that pure elemental wit, Chr. Marlowe, whose ghost or genius is to be seen walk the Churchyard,3 in, at the least, three or four sheets. Methinks you should presently look wild now, and grow humorously frantic upon the taste of it. Well, lest you should, let me tell you, this spirit was sometime a familiar of your own, Lucan's First Book translated; which, in regard of your old right in it, I have raised in the circle of your patronage. But stay now, Edward: if I mistake not, you are to accommodate yourself with some few instructions, touching the property of a patron, that you are not yet possessed of; and to study them for your better grace, as our gallants do fashions. First, you must be proud, and think you have merit enough in you, though you are ne'er so empty; then, when I bring you the book, take physic, and keep state; assign me a time by your man to come again; and, afore the day, be sure to have changed your lodging; in the meantime sleep little, and sweat with the invention of some pitiful dry jest or two, which you may happen to utter with some little, or not at all, marking of your friends, when you have found a place for them to come in at; or, if by chance something has dropped from you worth the taking up, weary all that come to you with the often repetition of it; censure, scornfully enough, and somewhat like a traveller; commend nothing, lest you discredit your (that which you would seem to have) judgment. These things, if you can Edition: current; Page: [252] mould yourself to them, Ned, I make no question that they will not become you. One special virtue in our patrons of these days I have promised myself you shall fit excellently, which is, to give nothing; yes, thy love I will challenge as my peculiar object, both in this, and, I hope, many more succeeding offices. Farewell: I affect not the world should measure my thoughts to thee by a scale of this nature: leave to think good of me when I fall from thee.
Thine in all rights of perfect friendship,
[In England's Helicon Marlowe's song is followed by the "Nymph's Reply to the Shepherd" and "Another of the same Nature made since." Both are signed Ignoto, but the first of these pieces has been usually ascribed to Sir Walter Raleigh1— on no very substantial grounds.]
The following verses in imitation of Marlowe are by Donne:—
Herrick has a pastoral invitation
In a copy of Hero and Leander Collier found, together with other questionable matter, the following MS. notes:— "Feb. 10, 1640. Mr. [two words follow in cipher], that Marloe was an atheist, and wrot a booke against [two words in cipher,] how that it was all one man's making, and would have printed it, but it would not be suffred to be printed. Hee was a rare scholar, and made excellent verses in Latine. He died aged about 30."—"Marloe was an acquaintance of Mr. [a name follows in cipher] of Douer, whom hee made become an atheist; so that he was faine to make a recantation vppon this text, The foole hath said in his heart there is no God.'"—"This [the name in cipher] learned all Marloe by heart."—"Marloe was stabd with a dagger and dyed swearing."
From MS. Harl. 6853, Fol. 320.
That the Indians and many Authors of Antiquitei have assuredly written of aboue 16 thowsande yeers agone, wher Adam is proved to have leyved within 6 thowsande yeers.
He affirmeth2 That Moyses was but a Juggler, and that one Heriots can do more then hee.
That Moyses made the Jewes to travell fortie yeers in the wildernes (which iorny might have ben don in lesse then one yeer) er they came to the promised lande, to the intente that those whoe wer privei to most of his subtileteis might perish, and so an everlastinge super-sticion remayne in the hartes of the people.Edition: current; Page: [312]
That the firste beginnynge of Religion was only to keep men in awe.
That it was an easye matter for Moyses, beinge brought up in all the artes of the Egiptians, to abvse the Jewes, being a rvde and grosse people.
*** * * * * * * * * * * * *1
That he [Christ] was the sonne of a carpenter, and that, yf the Jewes amonge whome he was born did crvcifye him, thei best knew him and whence he came.
That Christ deserved better to dye than Barrabas, and that the Jewes made a good choyce, though Barrabas were both a theife and a murtherer.
That yf ther be any God or good Religion, then it is in the Papistes, becavse the service of God is performed with more ceremonyes, as elevacion of the masse, organs, singinge men, shaven crownes, &c. That all protestantes ar hipocriticall Asses.
That, yf he wer put to write a new religion, he wolde vndertake both a more excellent and more admirable methode, and that all the new testament is filthely written.
*** * * * * * * * * * * * * * *
* * * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * * * * *Edition: current; Page: [313]
That all the Appostels wer fishermen and base fellowes, nether of witt nor worth, that Pawle only had witt, that he was a timerous fellow in biddinge men to be subiect to magistrates against his conscience.
That he had as good right to coyne as the Queen of Englande, and that he was acquainted with one Poole, a prisoner in newgate, whoe hath great skill in mixture of mettalls, and havinge learned such thinges of him, he ment. thorough help of a cvnnynge stampe-maker, to coyne fiench crownes, pistolettes, and englishe shillinges.
That, yf Christ had instituted the Sacramentes with more cerymonyall reverence, it would have ben had in more admiracion, that it wolde have ben much better beinge administred in a Tobacco pype.
That one Richard Cholmelei1 hath confessed that he was perswaded by Marloes reason to become an Athieste.
Theis thinges, with many other, shall by good and honest men be proved to be his opinions and common speeches, and that this Marloe doth not only holde them himself, but almost in every company he commeth, perswadeth men to Athiesme, willinge them not to be afrayed of bugbeares and hobgoblins, and vtterly scornynge both God and his ministers, as I Richard Bome [sic] will justify bothe by my othe and the testimony of many honest men, and almost all men with whome he hath conversed any tyme will testefy the same: Edition: current; Page: [314] and, as I thincke, all men in christianitei ought to endevor that the mouth of so dangerous a member may be stopped.
He sayeth moreover that he hath coated1 a number of contrarieties out of the scriptures, which he hath geeven to some great men, who in convenient tyme shalbe named When theis thinges shalbe called in question, the witnesses shalbe produced.
Copye of Marloes blasphemyes
as sent to her H[ighness]
[Now-a-days inquiries as to the age of the earth are of interest only to Geologists; and all may criticise with impunity the career of Moses—provided that they do not employ the shafts of ridicule too freely. Marlowe's strictures on the New Testament—grossly exaggerated by the creature who penned the charges—were ma***e from the literary point of view. We should blame nobody to-day for saying that the language of Revelations is poor and thin when compared with the language of Isaiah. Again, as to the statement that Romanism alone is logical, and that Protestantism has no locus standi,—has not the doctrine been proclaimed again and again in our own day by writers whom we all respect? The charge that Marlowe had announced his intention of coining French crowns is so utterly absurd as to throw discredit upon all the other statements It must be remembered that the testimony was not upon oath, and that the deponent was a ruffian.]
An edition of Marlowe cannot be more fitly concluded than by a reprint of Mr. R. H. Horne's noble and pathetic tragedy, The Death of Marlowe (originally published in 1837), one of the few dramatic pieces of the present century that will have any interest for posterity. For permission to reprint this tragedy I am indebted to Mr. Horne's literary executor, Mr. H. Buxton Forman.
Gentlemen, Officers, Servants, &c.
Public Gardens—Liberty of the Clink, Southwark.
Enter Marlowe and Heywood.
Be sure of it.
I am; but not by your light.
Good Master Heywood,
Beware the waking hour!
In lovely radiance,
Come, come—
I have—I do—
Enter Cecilia.
Why so, lady?
The reflex of the page is on thy face.
Nay, primrose gentleman, think'st me a saint?
I feel thy power.
Continued from this world?
I have said naught
Leave me not thus!—forgive me!
For what offence?
The expression of my love.
And to its winter, lady?
Gravel Lane; Bankside.
Enter Heywood and Middleton.
And yet it may end well, after his fit is over.
But he is earnest in it.
'Tis his habit; a little thunder clears the atmosphere. At present he is spell-bound, and smouldereth in a hot cloud of passion; but when he once makes his way, he will soon disperse his free spirit abroad over the inspired heavens.
I fear me she will sow quick seed of feverish fancies in his mind that may go near to drive him mad.
How so? He knoweth her for what she is, as well as for what she was;—the high-spirited and once virtuous wife of the drunkard Bengough. You remember him?
I have seen him i'the mire. Twas his accustomed bed o' nights—and morning, too—many a time. He preferred that to the angel he left at home. Some men do 'Tis a sorrow to think upon.
And one that tears cannot wash! Master Marlowe hath too deep a reading i' the books of nature to nail his heart upon a gilded weathercock. He is only desperate after the fashion of a pearl diver. When he hath enough he will desist—breathe freely, polish the shells, and build grottoes.
Nay, he persisteth in not knowing her for a courtesan —talks of her purity in burning words, that seem to glow and enhance his love from his convictions of her virtue; then suddenly falls into silent abstraction, looking like a man whose eyes are filled with visions of Paradise. No pains takes she to deceive him; for he supersedes the chance by deceiving himself beyond measure. He either listens not at all to intimation, or insists the contrary.
This is his passionate aggravation or self-will: he must know it.
Tis my belief; but her beauty blinds him with its beams, and drives his exiled reason into darkness.
Here comes one that could enlighten his perception, methinks.
Who's he? Jack-o'-night, the tavern pander and swashbuckler.
Enter Jacconot.
Save ye, my masters; lusty thoughts go with ye, and a jovial full cup wait on your steps: so shall your blood rise, and honest women pledge ye in their dreams!
Your weighty-pursed knowledge of women, balanced against your squinting knowledge of honesty, Master Jack-o'-night, would come down to earth, methinks, as rapid as a fall from a gallows-tree.
Well said, Master Middleton—a merry devil and a long-lived one run monkey-wise up your back-bone! May your days be as happy as they're sober, and your nights full of applause! May no brawling mob pelt you, or your friends, when throned, nor hoot down your plays when your soul's pinned like a cockchafer on public opinion! May no learned or unlearned calf write against your knowledge and wit, and no brother paper-stainer pilfer your pages, and then call you a general thief! Am I the only rogue and vagabond in the world?
I'faith, not: nay, an' thou wert, there would be no lack of them i' the next generation. Thou might'st be the father of the race, being now the bodily type of it The phases of thy villany are so numerous that, were they embodied they would break down the fatal tree which is thine inheritance, and cause a lack of cords for the Thames shipping!
Don't choke me with compliments!
He seems right proud of this multiplied idea of his latter end.
Ay; hanging's of high antiquity, and, thereto, of broad modern repute. The flag, the sign, the fruit, the felon, and other high and mighty game, all hang; though the sons of ink and sawdust try to stand apart, smelling civet, as one should say,—faugh! Jewelled caps, ermined cloaks, powdered wigs, church bells, bona-roba bedgowns, gilded bridles, spurs, shields, swords, harness, holy relics, and salted hogs, all hang in glory! Pictures, too, of rare value! Also music's ministrants,—the lute, the horn, the fiddle, the pipe, the gong, the viol, the salt-box, the tambourine and the triangle, make a dead-wall dream of festive harmonies!
Infernal discords, thou would'st say!
These are but few things among many! for 'scutcheons, scarecrows, proclamations, the bird in a cage, the target for fools' wit, hie jacet tablets (that is, lying ones), the King's Head and the Queen's Arms, ropes of onions, dried herbs, smoked fish, holly boughs, hall lantborns, framed piety texts, and adored frights of family portraits, all hang! Likewise corkscrews, cat-skins, glittering trophies, sausage links, shining icicles, the crucifix, and the skeleton in chains. There, we all swing, my masters! Tut! hanging's a high Act of Parliament privilege!-a Star-Chamber Garter-right!
The devil's seed germinates with reptile rapidity, and blossoms and fructifies in the vinous fallows of this bully's brain!
I tell thee what—(looking off) another time!
Exit Jacconot hastily.
I breathe fresh air!
Enter Cecilia, followed by Jacconot.
Well, well, Mistress St. Cecil; the money is all well enough—I object nothing to the money.
Then, go your ways.
My ways are your ways—a murrain on your beauties' —has your brain shot forth skylarks as your eyes do sparks?
Go!—here is my purse.
I'll no more oft!—I have a mind to fling back what thou'st already given me for my services.
Master Jacconot, I would have no further services from thee. If thou art not yet satisfied, fetch the weight and scales, and I will cast my gold into it, and my dross besides—so shall I be doubly relieved.
I say again—and the devil bear me fierce witness!— it is not gold I want, but rightful favour; not silver, but sweet civility; not dross, but the due respect to my nonpareil value! Bethink thee, Cecil—bethink thee of many things! Ay! am not I the true gallant of my time? the great Glow-worm and Will-o'-the-wisp—the life, the fortune, and the favourite of the brightest among ye!
Anywhere, so it be distant
What mean'st by discarding me, and why is it? 'Slud! is this the right sort of return for all my skilful activities, my adroit fascinations of young lords in drink, my tricks at dice, cards, and dagger-play, not to speak too loudly of bets on bear-baits, soap-bubbles, and Shrovetide cocks; or my lies about your beauty and temper? Have I not brought dukes and earls and reverend seniors, on tip-toe, and softly whispering for fear of "the world," right under the balcony of your window?-O, don't beat the dust with your fine foot! These be good services, I think!
Alas! alas! the world sees us only as bright, though baleful stars, little knowing our painful punishments in the dark-our anguish in secret
Are you thinking of me?
Go!—a death's-head crown your pillow! May you dream of love, and wake and see that!
I had rather see't than you.
What's i' the wind,—nobleman, or gentleman, or a brain fancy—am not I at hand? Are you mad?
I'd gladly believe I have been so.
Good. I'm content you see me aright once more, and acknowledge yourself wrong.
O, wrong indeed—very wrong—to my better nature— my better nature.
And to me, too! Bethink thee, I say, when last year, after the dance at Hampton, thou wert enraged against the noble that slighted thee; and, flushed with wine, thou took'st me by the ear, and mad'st me hand thee into thy coach, and get in beside thee, with a drawn sword in my hand and a dripping trencher on my head, singing such songs, until—
Earthworms and stone walls!
Hey! what of them?
A room in the Triple Tun, Blackfriars.
Marlowe, Middleton, Heywood, and Gentlemen.
Enter Drawer with a tankard.
We're wending homeward—gentlemen, good night!
We thank you, sir—good night!
Exeunt Gentlemen.
Let's follow—'tis near morning.
(after a pause)
So—let us have more wine, then!
(Marlowe throws open a side window that reaches down to the floor, and stands there, looking out.)
(Pointing towards the open window.)
(Heywood and Middleton retire apart—Cecilia is passing by the open window.)
That is not much to ask.
(She steps in through the window.)
May I come?
Ah, no; I'll go alone.
And I may come? (following her).
You shall not.
I obey you.
Then I may——(advancing).
(She turns to look at him—then steps through the window—Exit.)
Be sure—be sure!
(Heywood and Middleton approach.
Now, Marlowe!—you desert us!
(pointing after Cecilia).
What voice is that?
From one of the hells.
Enter Jacconot, with a full tankard.
Ever awake and shining, my masters! and here am I, your twin lustre, always ready to herald and anoint your pleasures, like a true Master of the Revels. I ha' just stepped over the drawer's body, laid nose and heels together on the door-mat, asleep, and here's wherewith to continue the glory!
We need not your help.
We thank you, Jack-o'-night: we would be alone.
What say you, Master Marlowe? you look as grim as a sign-painter's first sketch on a tavern bill, after his ninth tankard.
Cease your death-rattle, night-hawk!
That's well said.
Is it? So 'tis my gallants—a night-bird like yourselves, am I.
Beast!—we know you.
Your merry health, Master Kit Marlowe! I'll bring a loud pair of palms to cheer your soul the next time you strut in red paint with a wooden weapon at your thigh.
Who sent for you, dorr-hawk?—go!
Go! Aha!—I remember the word—same tone, same gesture—or as like as the two profiles of a monkey, or as two squeaks for one pinch. Go!—not I—here's to all your healths! One pull more! There, I've done—take it, Master Marlowe; and pledge me as the true knight of London's rarest beauties!
I will!
(Dashes the tankard at his head.)
A miss, 'fore-gad!—the wall has got it! See where it trickles down like the long robe of some dainty fair one! And look you here—and there again, look you!—what make you of the picture he hath presented?
Lightning come up from hell and strangle thee!
Away, thou bestial villain!
St. Cecil is my dear!
(rushes at Jacconot—they fight—Marlowe disarms him; but Jacconot wrests Marlowe's own sword from his hand, and stabs him—Marlowe falls).
See! see!
O, content you, Master Marplot—it's you that's down, drunk or sober; and that's your own blood on your fingers, running from a three-inch groove in your ribs for the devil's imps to slide into you. Ugh! cry gramercy! for it's all over with your rhyming!
O, heartless mischief!
Hence, thou rabid cur!
No such matter; it was my doing. You shouldn't ha'ran at me in that fashion with a real sword—I thought it had been one o' your sham ones.
Marry, but it can!—or else your sword's a foolish dog that dar'n't bite his owner.
There'll be no "encore" to either, I wot; for thou'st led an ill life, Master Marlowe; and so the sweet Saint thou spok'st of will remain my fair game—behind the scenes.
(Rises—and falls dead.)
Terrible end!
O God!—he is quite gone!
'Twas dreadful—'twas! Christ help us! and lull him to sleep in's grave. I stand up for mine own nature none the less. (Voices without.) What noise is that?
Enter Officers.
This is our man—ha! murder has been here! You are our prisoner—the gallows waits you!
What have I done to be hung up like a miracle? The hemp's not sown nor the ladder-wood grown, that shall Edition: current; Page: [350] help fools to finish me! He did it himself! He said so with his last words!—there stands his friends and brother players—put them to their Testament if he said not he did it himself?
Who is it lies here?—methinks that I should know him, But for the fierce distortion of his face!
"Caitiff" back again in your throat! and "gross nothing" to boot—may you have it to live upon for a month, and die mad and starving! Would'st swear my life away so lightly? Tut! who was he? I could always find the soundings of a quart tankard, or empty a pasty in half his time, and swear as rare oaths between whiles—who was he? I too ha'writ my odes and Pindar jigs with the twinkling of a bedpost, to the sound of the harp and hurdygurdy, while Capricornus wagged his fiery beard; I ha' sung songs to the faint moon's echoes at daybreak and danced here away and there away, like the lightning through a forest! As to your sword and dagger play, Edition: current; Page: [351] I've got the trick o' the eye and wrist—who was he? What's all his gods—his goddesses and lies?—the first a'nt worth a word; and for the two last, I was always a prince of both! "Caitiff!" and "beast!" and "nothing!"—who was he?
Then may Vice and I sit crown'd in heaven, while Law and Honesty stalk damned through hell! Now do I see the thing very plain!—treachery—treachery, my masters! I know the jade that hath betrayed me—I know her. 'Slud! who cares? She was a fine woman, too—a rare person—and a good spirit; but there's an end of all now—she's turned foolish and virtuous, and a tell-tale, and I am to be turned to dust through it—long, long before my time: and these princely limbs must go make a dirt-pie—build up a mud hut—or fatten an alderman's garden! There! calf-heads—there's a lemon for your mouths! Heard'st ever such a last dying speech and confession! Write it in red ochre on a sheet of Irish, and send it to Mistress Cecily for a death-winder. I know what you've got against me—and I know you all deserve just the same yourselves—but lead on, my masters!
Exeunt Jacconot and Officers.
Miserable sight!
(A shriek outside the house.)
That cry!—what may that mean?
I hear no cry.
What is't comes hither, like a gust of wind?
Cecilia rushes in.
(Sinks down upon the body.
"Cut is the branch that might have grown full straight, And burned is Apollo's laurel bough!"
(Solemn music.)
Dark Curtain.
Some editions give "wore."
The Arguments are by Chapman, who also divided Marlowe's portion of the poem into the First and Second Sestiad.
Eds. 1600, 1606, 1613, "Sea-borders."—Ed. 1598, according to Malone, has "sea-borderers;" and so eds. 1629, 1637.
Some eds. have "rockt," which may be the right reading.
So ed. 1637.—The earlier editions that I have seen read "may."
Cf. Venus and Adonis (l. 3)—" Rose-cheek'd Adonis hied him to the chace."
So Hamlet i. r—
"Thrslling—tremulously moving."—Dyce. Perhaps the meaning rather is penetrating—drilling its way through—"the gloomy sky."
Variegated (Lat. discolor).
Dyce quotes a passage of Harington's Orlando Furioso where "flowre" (floor) rhymes with "towre."
Dyce quotes a passage of Harington's Orlando Furioso where "flowre" (floor) rhymes with "towre."
Ed. 1600 and later 4tos. "Tail'd." For the coupling of "Vailed" with "veiling," cf. 2 Tamb. v. iii. 6, "pitch their pitchy tents."
This line is quoted in As you like it, iii. 5:—
"A periphrasis of Night." Marginal note in ed. 1598.
Lines 199-204, 221-222, are quoted, not quite accurately, by Matthew in Every Man in his Humour, iv. 1.
Some eds. give "between."
Cf. Shakespeare, Sonnet cxxxvi.—
Some eds. read "sweet."
Cf. Second Sestiad, l. 73—
This line is quoted in England's Parnassus with the reading "ripest."
"To the 'beldam nurse' there occurs the following allusion in Drayton's Heroical Epistle from Queen Mary to Charles Brandon:—
So the old eds.—Dyce reads "about."
We are reminded of Lycidas:—
Omitted in ed. 1600 and later 4tos.
This word cannot be right. Query, "high-aspiring?"
Cf. Rom. and Jul., v. 1—
Omitted in eds. 1600, 1606, 1613, and 1637.
Peised, weighed.
Rooms were strewed with rushes before the introduction of carpets. Shakespeare, like Marlowe, attributed the customs of his own day to ancient times. Cf. Cymb., ii. 2—
Old eds. "crau'd."
Some eds. give "O, none have power but gods."
"In ages and countries where mechanical ingenuity has but few outlets it exhausts itself in the constructions of bits, each more peculiar in form or more torturing in effect than that which has preceded it. I have seen collections of these instruments of torments, and among them some of which Marlowe's curious adjective would have been highly descriptive. It may be, however, that the word is 'ring-led,' in which shape it would mean guided by the ring on each side like a snaffle."—Cunningham.
Old eds. "threw."
Some eds. give "so faire and kind." Cf. Othello, iv. 2—
Ed. 1613 and later eds. "upstarting."
Some eds. give "shallow."
In the old eds. this line and the next stood after l. 300. The transposition was made by Singer in the edition of 1821.
Old eds.—"then … displaid," and in the next line "laid."
Old eds. "heare" and "haire."
Old eds. "glympse."
Pluto was frequently identified by the Greeks with Plutus.
Old eds. "day bright-bearing car."
Dinged, dashed. Some eds. give "hurled."—Here Marlowe's share ends.
This Epistle is only found in the Isham copy. 1598
Old eds. "improving."
"He calls Phœbus the god of gold, since the virtue of his beams creates it."—Marginal note in the Isham copy.
The reader will remember how grimly Lady Macbeth plays upon this word:—
"It is not likely that Burns had ever read Hero and Leander, but compare Tam o' Shanter—
In England's Parnassus the reading is "of men audacious.
Some eds. give "For as she was."
A magical figure formed of intersected triangles. It was supposed to preserve the wearer from the assaults of demons. "Disparent would seem to mean that the five points of the ornaments radiated distinctly one from the other."—Cunningham.
Old eds. "her."
Old eds. "how."
Substance, as opposed to spirit. Cf. note, vol i., 203.
Cadiz, which was taken in June 21, 1596, by the force under the joint command of Essex and Howard of Effingham.
So the Isham copy.—The other old eds. read "townes," for which Dyce gives "town."
Vent forth.
"Fowl" and "fool" had the same pronunciation. Cf. 3 Henry VI., v. 6 —
The "moorish fool" is explained by the allusion to the lapwing, two lines above. (The lapwing was supposed to draw the searcher from her nest by crying in other places. "The lapwing cries most furthest from her nest."—Ray's Proverbs.)
A kind of crape.
So the modern editors for an "imitating."
Ingenious. Chapman has the form "enginous" in his translation of the Odyssey, i. 452,
Some modern editors unnecessarily give "With crowd of sail."
Old eds. "joys."
Old eds. "he."
Some eds. give "For such a Hero."
"This conceit was suggested to Chapman by a passage in Skelton's Phyllyp Sparowe:
— Works, 1, 57, ed. Dyce."—Dyce.
" This description of the fisherman, as well as the picture which follows it, are borrowed (with alterations) from the first Idyl of Theocritus. "—Dyce
"Eyas" is the name for an unfledged hawk. "Eyas thoughts" would mean "thoughts not yet full-grown,-immature." Dyce thinks the meaning of "eyas" here may be "restless." (Old eds. "yas.")
A monosyllable.
Some eds. give " them, then they burned as blood"
Approaching catastrophe.
Some eds. "end."
Used transitively.
Some eds. "Leanders."
Shakespeare uses the verb "slubber "in the sense of "perform in a slovenly manner" [Merchant of Venice, 8, "Slubber not business for my sake ")
Companions, yoke-mates.
Gr. ἡδυőἡ.
From Lat. crista
Gr. λ∊υκóτηs.
Gr. δαψιλἡs.
Some eds. read "Coyne and impure."
From Gr. oîκτos
Some eds. "in."
"A compound, probably, from ἔρωs and υóσos or voῦσos lonice" Ed. 1821.
Some modern editors read "sat."
Singer suggested "Alcmaeon."
"Chapman has a passage very similar to this in his Window's Tears. Act iv. —
"Old eds. 'prayes,' 'praies,' 'pries,' and 'pryes.'"—Dyce.
Dyce reads "enthrill'd."
Did make to spring. Cf. Fourth Sestiad, 1. 169.
So the Isham copy. All other editions omit the words "the blood"
"Valure" is frequently found as a form of "value;" but I suspect, with Dyce, that it is here put (metri causa) for "valour."
Gr. ἀδoλἐαχηs.
Some eds. "price."
Gr. ἀγν∊íα
Singer gives a reference to Pausan, x. 5.—Old eds. "Phemonor" and "Phemoner."
"Other some" is a not uncommon form of expression. See Halliwell's Dict. of Archaic and Provincial Words.
Old eds. "their."
Old eds. "his."
A sudden pettishness or freak of fancy. Cf. Two Noble Kinsmen:—
Former editors have not noticed that Chapman is here closely imitating Catullus' Carmen Nuptiale—
Some eds. "starting." Cf. Julius Cæar, iv. 3, 11. 278-9—
"Old eds. 'much-rong,' 'much rongd,' and 'much-wrong'd.'" —Dyce (who reads "much-wrung").
"It should be binds: i.e., Leucote files to the several winds, and, commissioned by the Fates, commands them to restrain their violence."
The next few lines are in Chapman's obscurest manner. "Devotes," in 1. 21, means, I suppose, "tokens of devotion to his patron."
Cunningham says, "I cannot perceive the meaning of 'doth repair more tender fawns.'" "Fawns" is equivalent to "fawnings;" and the meaning seems to be, "applies himself to softer blandishments."
Orithyia.—The story of the rape of Orithyia is told in a magnificent passage of Mr. Swinburne's Erectheus.
So the Isham copy. Later eds. "true."
So the Isham copy, Later eds. "torrent."
Some eds. "himselfe surpris'd." Dyce gives "himself so priz'd."
A short arrow blunted at the end; it killed birds without piercing them.
Clipt, embraced.
From Gr. Ăτθs is (a woman of Attica, i.e., Orithyia).
"The flame taking bait (refreshment), feeding."—Dyce (Old eds. "bating.")
Old eds. "vsde."
Isham copy "deuil."
In Chapman's day the work of the grammarian Musaeus was supposed to be the genuine production of the fabulous son of Eumolpus
So the Isham copy. Ed. A "the."
Isham copy and ed. A "vpreard, I meane."
The original has—
"Cum bene surrexit versu nova pagina primo, Attenuat nervos proximus ille meos."
Dyce's correction for "praise" of the old eds.
So the Isham copy and ed. A. Other eds. "struggling."
"Frena minus sentit quisquis ad arma facit."—Marlowe's line strongly supports the view that "bear hard" in Julius Cæsar means "curb, keep a tight rein over" (hence "eye with suspicion"). Cf. Christopher Clifford's School of Horsemanship (1585):—"But the most part of horses takes it [a 'wil of his owne'] through the unskilfulnesse of the rider by bearing too hard a hand upon them," p. 35.
"Our poet's copy of Ovid had 'Tu penna pulchros gemina variante capillos.'"—Dyce. (The true reading "Tu pennas gemma, gemma variante capillos.")
Old eds. "kinsmans."
Old eds. "thee."
Isham copy "aske."
Ed. A "cause me to be thine."
"Temperat et sumptus parcus uterque parens.'
Isham copy and ed. A "Bull."
Not in Isham copy or ed A.
So Dyce; old eds. "receive."
"Optabis merito cum mala multa viro."
"Bibat ipse jubeto."
So Dyce for "goblets" of the old eds. ("Rejice libatos plus ore cibos.")
"Fiam manifestus adulter."
The original has "Nocte vir includet."
"Dedisse nega."
Isham copy and ed. A "spread."
Ed. A "her faire white body." ("Et nudam pressi corpus ad usque meum.")
Old eds. "dende."
Sometime ("quondam").
"Ante vel a membris dividar ipse meis."
Qy. "rebound?"
Dyce reads, "If, Boreas, bear'st" (i.e., "thou bear'st"). But the change in the old eds, from the second to the third person is not very harsh.
A picturesque rendering of
"Lente nec admisso turpis amante … vale." Of course "nec" should be taken with "admisso."
I should like to omit this word, to which there is nothing to correspond in the original.
Marlowe has misunderstood the original:
"Pessima Tydides scelerum monumenta reliquit."
An awkward translation of
So ed. B.—Ed. C. "wanton."
Old eds. "keembed." ("Pone recompositas in statione comas.")
"Est quædam, nomine Dipsas, anus."
"Nigri non illa parentem Memnonis in roseis sobria vidit equis."
Cunningham suggests that "wise" was "one of the thousand and one euphemisms for 'inebriated.'"
The spelling in old eds. is "wrong."
"Virus amantis equæ."
"Si te non emptam vellet emendus erat." (Marlowe's copy must have read "amandus.")
Proved their strength. "Qui latus argueret corneus arcus erat."
The usual reading is "Ut celer admissis labitur amnis aquts."
"Vestis bona quaerit haberi."
Old eds. "liues."
"Ille viri toto videat vestigia lecto."
"Rugosas genas."
"Mitte puellam."
Old eds. "to."
So ed. B.-Ed. C "Such."
"Custodum transire manus vigilumque catervas." (For "hands" the poet should have written "bands.")
"Et galeam capiti quae daret uxor erat."
"Nec Venus apta," &c.
Old eds. "to."
"Non bene conducti testes."
So ed. B.—ed. C "bad merchandise."
Old eds. "many."
The original has "ager."
"Et dandis ingeniose notis."
So Dyce for "try" of the old eds.
"Voltuns in ramis et strigis ova tubt."
Old eds. "thy."
So Dyce for "from" of the old eds.
This line is omitted in ed. A.
Isham copy and ed. A "This."
Isham copy and ed A "had'st."
Isham copy and ed. A "Punish ye me."
So the Isham copy. The other old eds. "chide."
Not in Isham copy or ed. A.
The original has "colorath Seres."
So ed. B.—Ed. C "And."
Old eds. "They."
Cunningham and the editor of 1826 may be right in reading "trammels" (i.e., ringlets). "Irannel" was the name for a bodkin The origmal has "Ut fieret torto flexilis orbe sinus."
"Nuda Dione."
"Nescio quam pro me laudat nunc iste Sygambram."
Isham copy and ed. A "tearmes our."
Dyoe's correction for "come" of the old eds.
Isham copy and ed. A "might."
So Isham copy and ed. A.—Dyce follows ed. B, "Or into sea."
So Isham copy and ed. A.—Ed. B "doth."
Isham copy and ed. A omit this line and the next.
So Dyce.—Old eds. "fathers hoord." ("Durus pater.")
The poet must have read "ammosi Maccius oris." The true reading is "animosique Accius oris."
Old eds. "Argos."
Isham copy and ed. A "conquering"
Isham copy and ed. A "Let kings give place to verse."
So the Isham copy.—Ed. A (followed by Dyce) gives "rocks."—Eds B and C "rakes" (and so Cunningham).
I.e., Ben Jonson, who afterwards introduced it into the Poetaster (1. I). This version is merely a revision of the preceding, which must also have been written by Ben Jonson. (Not in Isham copy or ed. A)
"Tityrus et fruges Æneiaque arma legentur."
"Metuentem frigora myrtum."
Old eds. "thy."
A clear instance of a plural verb following a singular subject.
"Quod bene pro cœlo mitteret ille suo."
Old eds. "blacke."
"Carmine dissihunt, abruptis faucibus, angues." ("Fauces" means both "jaw" and "mountain-gorge." Marlowe has gone desperatel) wrong.)
Old eds. "O."
So ed. B.—Ed. C "my."
The original has "agmen." Cunningham suggests" pack." If we retain "fact" the meaning is "Danaus' guilt."
Old eds. "vn-protested." ("Unde nthil, quamvis non tueare, pent.")
So ed. C.—Ed. B "follow." (The sense wanted is "Furiously let him follow,' &c.)
"Ante suos annos occidit'
"Unde vir incestum scire coactus erat." (Here "incestum" is "adultery.")
"Mendosos … mores."
"Heu quam, quae studeas ponere, ferre grave est."
So eds. B, C.—Isham copy and ed. A "And."
This is Dyce's certain correction for the old eds. "blush." (The originals has "uror.")
Ed. A "those nimble hands."
"Ut taceam de me, qui causa tangor ab omni, dIllic Hippolytum pone, Priapus erit."
So Isham copy and ed. A.—Eds. B, C "say."
This and the next three lines are omitted in Isham copy and ed. A.
So eds. B, C.— Isham copy and ed. A "yellow trest."
Not in Isham copy or ed. A.
So Dyce for "Poor wench" of the old eds.—The original has "Ipse miser vidi."
"Maeonis Assyrium femina tinxit opus." Dyce remarks that Marlowe "was induced to give this extraordinary version of the line by recollecting that in the sixth book of Ovid's Metamorphoses Arachne is termed 'Maeonis,' while her father is mentioned as a dyer."
A bad mistranslation of "Et volo non ex hac illa fuisse nota."
Far from the original "Nescio quis pretium grande magister habet."
Dyce remarks that Marlowe's copy had "ales mihi missus" for "imitatrix ales."
So Dyce for "goodly" of the old eds. ("piæ volucres").
So Dyce for "not" of the old eds.
So Dyce for "It is as great."
Old eds. "crowes."
Old eds. "words."
Marlowe was very weak in Latin prosody. The original has "mani bus rapiuntur avaris."
Old "goodly" ("pias voluers").
"Serva Phœbas" (i.e., Cassandra).
Old eds. "my."
So ed. B.—Ed. C "the."
"At quanto, si forte refers, præsentior ipse, Per Veneris feci numina magna fidem."
The original has "Unum est e dominis emeruisse satis."
Not in Isham copy or ed. A.
So ed. B.—Ed. C "my."
Insome strange fashion Marlowe has mistaken the substantive "rudis" (the staff received by the gladiator on his discharge) with the adjective "rudis" (rude). The original has "Tutaque deposito poscitur ense rudis."
Old eds. "Let her enjoy me;" but the original has "Saepe fruar domina."
"Artibus in dubio est haec sit an illa prior." Dyce suggests that Marlowe read "Artubus."
Eds. B, C, "vast deep sea."
The original has "saevus" (for which Marlowe seems to have read "suavis").
Isham copy and ed. A "souldiour … his," and in the next line "his blood."
So Cunningham for—
So Isham copy and eds. B, C.—Ed. A "let."
Not in Isham copy or ed. A.
Old eds. "Argos."
"Bibuli litoris illa mora est."
Dyce was doubtless right in supposing "wreaks" to be used metri causa for "wrecks." Cunningham wanted to give the meaning "recks;" but that meaning does not suit the context. The original has "credenti nulla procella nocet."
"Excipiamque humens,"
"Cura parte triumphe mea."
Ed. B "but yet me."—Ed. C "but yet without"
Old eds, "with," which must be a printer's error. (The original has "clam me")
Old eds. "slipping."
"Gallica turma" (i.e., the company of Galh, the priests of Isis).
Old eds. "On."
Old eds. "to-day."
"Est pretium parvæ non leve vita moræ."
Dyce's suggestion for "thee" of the old eds. The original has "Aque sua caesum matre queruntur Ityn."
"Sed tristibus utraque causis Jactura socil sanguinis ulta virum.'
An inelegant translation of "Saepe suos uteros quae necat ipsa perit."
Marlowe has given a meaning the very opposite of the original—" Et clamant 'Merito' qui modo cumque vident."
Old eds. "by."
Ed. B "in fields."—Ed. C "in field."
Old eds. "swearest."
Old eds "your."
"Et faciles curvis vallibus este viæ."
Not in Isham copy or ed A.
Old eds. "and the."
Marlowe read "nymphæ" for "nymphe."
The original has "Quam cito de toto rediit meus orbe Sabinus &c
"Et faciat voto rara repulsa locum."
Old eds. "haole."—The construction is not plain without a reference to the original:—
So Dyce for "gave" of the old eds.
The reading of the original is "Saepe time insidias."
Dogs tied up on account of their fierceness
Old eds. "Whether" (a common form of "whither")
As dearly as life.
Old eds. "effect."
"Multa druque tuli; speravi saepe futurum Cum bene servasses ut bene verba darem."
"Me tibi rivalem si juvat esse, veta."
Old eds. "good head."
So Dyce—Old eds. "looke." ("Paila jacebat humi.)
Old eds. "he."
Old eds. "sitting." ("Atque impercussos nocte movere pedes.")
Ed. B "keepes," ed. C "keepers." This line and the next are a translation of.—
The original has
"In vacuas auras." (The true reading is "aures.")
"Contactu lateris laeditur ista tui."
"Tua contraha crura."
"Invida vestis eras quod tam bona crura tegebas! Quoque magis spectes … mvida vestis eras."
A strange rendering of "linguis animisque favete."
Ed. B "pleace;" ed. C "place
Old eds. "Or while."
"Cancellis" (i.e., the rails)
Old eds. "they."
Old eds. "by."
"At non invidiæ vobis Cephéia virgo est, Pro male formosa jussa parente mori!"
Old eds. "least." ("Nec custodiri, ni velit, ulla potest.)
The original has "Nescio quid, quod te ceperit, esse putant."
Dyce calls this line an "erroneous version of 'Non proba sit quam vir servat, sed adultera; cara est.'" But Merkel's reading is "Non proba fit quam vir servat, sed adultera cara"—which is accurately rendered by Marlowe
Not in Isham copy or ed. A.—In the old copies this elegy is marked "Elegia v." The fifth elegy (beginning "Nox erat et somnus," &c) was not contained in Marlowe's copy.
Old eds. "redde-growne."
So Dyce for "rushest" of the old eds.
So Dyce for "arrowes" of the old eds.
The original has "Inachus in Melie Bithynide pallidus isse," &c — Dyce suggests that Marlowe's copy had "in media Bithynide."
Old eds. "Aesope."
Old eds. "shame."
"Loca sola."
The original has "Desit famosus qui notet ora pudor" (or "Desint … quae," &c.)
"Forsitan haec alios, me mea damna movent."
Old eds. "Ile"
Marlowe read "nunc candide" for "non candide.
So eds. B, C.—Isham copy and ed. A.—"That were as white as is the Scithian snow."
"Dominumque vocavit."
So Isham copy and ed. A.—Eds. B, C "When"
"Flava Chlide."
So Isham copy and ed. A —Eds. B, C "we had.
The verb "embase" or "imbase" is frequently found in the sense of "abase." Here the meaning seems to be "weakened, enfeebled. (Ovid's words are "Sagave pœnicea defixit nomina cera.")
So Isham copy and ed. A ("needle points").—Eds. B, C "needles' points."
So Isham copy and ed. A —Eds. B, C "The."
So eds. B, C —Isham copy "received in, and in I got me."
So old eds.—Dyce reads "kiss'd."
So eds. B, C.—Isham copy and ed. A "and refusde it."
"Sic aret mediis taciti vulgator in undis."
So eds. B, C.—Isham copy and ed. A "nor."
Isham copy "yeares," ed. A "yeres," eds. B, C "eare.
So eds. B, C.—Isham copy and ed. A "Seeing now thou."
So eds, B, C.—Isham copy and ed. A "great hurt."
The original has "Aut te trajectis Aeaea venefica lanis," &c. (As Dyce remarks, Marlowe read "ranis.")
Not in Isham copy or ed. A
So ed B —Ed. C "his." ("Caput hoc galeam portare solebat.")
Old eds. "knew."
Marlowe has quite mistaken the meaning of the original "Proque bono versu primum deducite pilum."
A very loose rendering of Ovid's couplet—
So Dyce for "she" of the old eds. ("Imperat ut captae qui dare multa potest.")
The original has "Me prohibet custos' in me timet illa maritum."
Ed. B "Eeliga"—Ed. C "Elegia."
"Fratris in Aeneae sic illum funere dicunt Egressum tectis, pulcher Iule, tuis."
The original has—
In Marlowe's copy the couplet must have been very different.
Old eds. "vnkeembe" and "unkeem'd."
Old eds. "carst."
"Auxisti numeros, culte Tibulle, pios."
Threshing-floor ("area").
Marlowe has made the school-boy's mistake of confusing "caneo" and "cano."
The original has
The original has "Venerunt capiti cornua sera meo."
"Et quæ taceo."
"Qui dant fallendos se tibi saepe, deos.
Marlowe has put his negative in the wrong place and made nonsense of the couplet:—
Old eds. "lookes."
"Ambiguae captos virginis ore viros." ("Ambigua virgo" is the Sphinx.)
The original has "Concinit Odrysium Cecropis ales Ityn."
Marlowe's copy must have been very corrupt here. The true reading is
"It per velatas annua pompa vias"
"Nunc quoque per pueros jaculis incessitur index, Et pretium auctori vulneris ipsa datur."
"Praeverrunt latas veste jacente vias,"—Dyce remarks that Marlowe read "Praebuerant."
"Ore favent populi." (In Henry's monumental edition of Virgil's Æneid, vol. iii. pp. 25--27, there is a very interesting note on the meaning of the formula "ore favete." He denies the correctness of the ordinary interpretation "be silent.")
"Et scelus et patrias fugit Halæsus opes."
So Isham copy and eds. B, C.—Ed. A "wit."
So Isham copy.—Ed. A "night-sports."
So eds. B, C.—Isham copy and ed. A "Or."
So Isham copy.—Ed. A "people."
So Isham copy.—Ed. A "toyes."
So eds. B, C.—Isham copy and ed. A "mine ever yours.
"Mens abit."
So eds. B, C —Isham copy and ed. A "through."
So eds. B, C.—Isham copy and ed. A "dying."
The original has
So eds. B, C.—Isham copy and ed. A "yeeld not"
So eds. B, C.—Isham copy and ed. A "garland'
So Isham copy and eds. A, B.—Ed. C "that I."
Dyce has carefully recorded the readings of a MS. copy (Harl. MS 1836) of the present epigrams As in most cases the variations are unimportant, I have not thought it necessary to reproduce Dyce's elaborate collation. Where the MS. readings are distinctly preferable I have adopted them; but in such cases I have been careful to record the readings of the printed copies.
"Tenerorum mater amorum"
"Marlowe's copy of Ovid had 'Traditur haec elegis ultima charta meis.'"—Dyce. (The true reading is "Raditur hic … meta meis.)
"Non modo militiae turbine factus eques."
"Cum timuit socias anxia turba manus."
"Marlowe's copy of Ovid had 'Culte puer, puerique parens mihi tempore longo' (instead of what we now read 'Amathusia culti)"—Dyce
Old eds. "pluckt."
So Dyce.—Old eds. "loue and praise thee," MS. "Seeme to love thee."
So Isham copy and MS. Ed A "approve."
Censuring. Dyce compares the Induction to the Knight of the Burning Pestle—
So MS.—Old eds. "does."
MS. "Which carrieth under a peculiar name"
So MS.—Old eds. "lies."
"To this epigram there is an evident allusion in the following one 'To Candidus.
Guilpin's Skialetheia, &c. 1598, Epig. 20"
It was a common practice for gallants to sit upon hired stools in the stage, especially at the private theatres. From the Induction to Marston's Malcontent it appears that the custom was not tolerated at some of the public theatres. The ordinary charge for the use of a stool was sixpence.
Malone was no doubt right in supposing that there is here an allusion to the "private boxes" placed at each side of the balcony at the back of the stage They must have been very dark and uncomfortable. In the Gull's Horn-book Dekker says that "much new Satin was there dampned by being smothered to death in darkness."
MS. "In meritriculas Londinensis."
MS. "Ware."
MS. "dissolv'd"
Sir Christopher Hatton's tomb. See Dugdale's History of St. Paul's Cathedral, ed. 1658, p. 83.
"The new water-work was at London Bridge. The elephant was an object of great wonder and long remembered. A curious illustration of this is found in the Metamorphosis of the Walnut Tree of Borestall, written about 1645, when the poet [William Basse] brings trees of all descriptions to the funeral, particularly a gigantic oak—
See the admirable account of "The Theatre and Curtain" in Mr Halliwell-Phillipps' Outlines of the Life of Shakespeare, ed. 3, pp 385--433. It is there shown that the access to the Theatre play-house was through Finsbury Fields to the west of the western boundary-wall of the grounds of the dissolved Holywell Priory.
Not in MS.
MS "knowen this towne 7 yeares'
Old eds. "streets."
So Isham copy.—Other eds. omit the words "this is."
So MS. and eds. B, C. Not in Isham copy or ed. A.
So Isham copy and MS.—Eds. A, B, C "and as idle."
So MS.—Isham copy and ed. A "oft."
So Isham copy.—Omitted in ed. A.
So Isham copy.—Eds. A, B, C "old."
Boulogne was captured by Henry VIII. in 1544.
The reference probably is to the visitation of 1551.
In 1557 an English corps under the Earl of Pembroke took part in the war against France. "The English did not share in the glory of the battle, for they were not present, but they arrived two days after to take part in the storming of St. Quentin, and to share, to their shame, in the sack and spoiling of the town."—Froude, VI. 52.
Havre.—The expedition was despatched in 1562.
Led by the Earls of Northumberland and Westmoreland in 1560.
The reference is to the frost of 1564.—"There was one great frost in England in our memory, and that was in the 7th year of Queen Elizabeth: which began upon the 21st of December and held in so extremely that, upon New Year's eve following, people in multitudes went upon the Thames from London Bridge to Westminster; some, as you tell me, sir, they do now—playing at football, others shooting at prick.' —"The Great Frost," 1608 (Arber's "English Garner," Vol. I.)
"This yeare [1560] in the end of September the copper momes which had been coyned under King Henry the Eight and once before abased by King Edward the Sixth, were again brought to a lower valuacion." —Hayward's Annals of Queen Elizabeth, p. 73.
On the 4th June 1561, the steeple of St. Paul's was struck by lightning
"On the tenth of October (some say on the 7th) appeared a blazing star in the north, bushing towards the east, which was nightly seen diminishing of his brightness until the 21st of the same month."—Stow Annales, under the year 1580 (ed. 1615, p. 687).
The defeat of the Spanish Armada in 1588.
Dyce conjectures that this was the name of some person who kept an ordinary where gaming was practised. (MS. "for newes.")
So eds. B, C.—Isham copy and ed. A "a seaven."
So MS. with some eccentricities of spelling ("to much one one") Old eds. "at."
Shape or fashion; properly the wooden mould on which the crown of a hat is shaped.
So MS.—Old eds. "ruffes."
Love-lock; a lock of hair hanging down the shoulder in the left side It was usually plaited with ribands.
So MS. and eds. B, C.—Not in Isham copy or ed. A.
Gascoigne's "rhymes" have been edited in two thick volumes by Mr Carew Hazlitt. He died on 7th October 1577. In Gabriel Harvey's Letter Book (recently edited by Mr. Edward Scott for the Camden Society) there are some elegies on him.
SoIsham copy and ed. A —Eds. B, C "spies"—MS. "notes."
So the MS.—Isham copy and ed. A "Which perceiving he."—Eds. B, C "Which to perceiving he."
The MS. adds—
Old eds. "Casomates."
Old eds. "Of parapets, of curteneys, and pallizadois."—MS. "Of parapelets, curtens and passadoes."—Cunningham prints, "Of curtains, parapets," &c.
"A term in fortification, exactly from the French fausse-braie, which means, say the dictionaries, a counter-breast-work, or, in fact, a mound thrown up to mask some part of the works.
B. Jons. Underwoods."—Nares
Dyce points out that this passage is imitated in Fitzgeoffrey's note from Black-Fryers, Sig. E. 7, ed. 1620.
In this epigram, as Dyce showed, Davies is glancing at a sonnet o Drayton's "To the Celestiall Numbers" in Idea. Jonson told Drum-mond that "S J. Davies played in ane Epigrame on Draton's, who in a sonnet concluded his mistress might been the Ninth [sic] Worthy, and said he used a phrase like Dametas in Arcadia, who said, For wit his Mistresse might be a Gyant."—Notes of Ben Jonson's Conversations with Drummond, p. 15. (ed. Shakesp. Soc.)
So MS —Old eds. "out."
So Isham copy.—Ed. A "when doth he his."
So Isham copy.—Ed. A "most brave, most all danng."—Eds B, C "most brave and all daring."—MS. "most valiant and all-daring."
There are frequent allusions to this practice. Cf. Induction to Cynthia's Revels — I have my three sorts of tobacco in my pocket; my light by me."
John Heywood, the well-known epigrammatist and interlude-wnter. His Proverbs were edited in 1874, with a pleasantly-written Introduction and useful notes, by Mr. Julian Sharman.
Dyce refers to a passage of Sir John Harmgton's Metamorphosis of Ajax, 1596 —" This Haywood for his proverbs and epigrams is not yet put down by any of our country, though one [marginal note, M. Davies] doth indeed come near him, that graces him the more in saying he puts, him down." He quotes also from Bastard's Ckrestoleros, 1598 (Lib. II. Ep. 15; Lib. in. Ep. 3, and Freeman's Rubbe and a Great Cast (Pt in Ep. 100), allusions to the present epigram.
Samuel Daniel. See Ep. xlv,
All the information about Banks'wonderful horse Moroccus (" the little horse that ambled on the top of Pauls") is collected in Mr. Halli-well-Phillpps' Memoranda on Love's Labour Lost.
So eds. B, C—Isham copy and ed. A "thinks,"
Old eds. "thirtienine." MS "nine and thirtith."
So Isharm copy.—Ed. A "he."
So ed. B.—Isham copy, ed. A, and MS. "Septimus."
"Burn" is often used with an indelicate double entendre. Cf Lear m. 2, "No heretics burned but wenchexs' suitors;" Troilus and Cressida, v. 2, "A burning devil take them."
Isham copy, "Heuens;" and eds. B, C "Heauens."—MS "helevs."—Davies alludes to Odyssey iv., 219, &c.
So MS.-Old eds. "substantiall."
We are reminded of Bobadil's encomium of tobacco.-"I could say what I know of the virtue of it, for the expulsion of rheums, raw humours, crudities, obstructions, with a thousand of this kind; but I profess myself no quacksalver. Only this much. by Hercules I do hold it and will affirm it before any prince in Europe to be the most sovereign and precious weed that ever the earth tendered to the use of man."
So MS.-Not in old eds.
Dyce quotes from More's Lucubratioms (ed. 1563, p, 261). an epigram headed "Medicinæ ad tollendos fuetores anbelitus, provenientes a cibis quibusdam."
So eds. A, B, C-Isham copy "so smooth"MS. "so faire "
So MS.-Eds. "not."
The reference probably is to the Pont Neuf, begun by Henry III and finished by Henry IV.
So MS.-Old eds. "That."
MS. "day!"
Isham copy and MS. "gentleman."
MS. "widdow."
So Isham copy and MS.-Other eds. "a."
So Isham copy.-Other eds. "passeth."MS, "presses.'
So Isham copy, ed. A, and MS.-Eds, B, C "listening"
So Isham copy, ed. A, and MS.-Eds. B, C "heed."
So eds. B, C. -Isham copy, MS. and ed. A, "debtor poor." With the foregoing description of the "ballad-singer's auditory "compare Wordsworth's lines On the power of Music, and Vincent Bournes charming Latin verses (entitled Cantatrices) on the Ballad Singers of the Seven Dials.
So MS,-Eds. "Thus"
Cf. a somewhat similar description in Guilpin's Skialetheia (Ep 25).—
If the play ended at six, it could hardly have begun before three From numerous passages it appears that performances frequently began at three, or even later. Probably the curtain rose at one in the winter and three in the summer.
This word is found in Chapman, Harington, and others.
So MS.—Old eds. "often."
Groningen was taken by Maurice of Nassau. Vere was present at the siege.
The expression "take in" (in the sense of "conquer, capture") is very common.
An English expedition, under Sir John Norris, was sent to Brittany in 1594
This line and the next are found only in Isham copy and MS.
So Isham copy—Eds. A, B, C "the."—MS. "ye."
When a person started on a long or dangerous voyage it was customary to deposit—or, as it was called, "put out"—a sum of money, on condition of receiving at his return a high rate of interest. If he failed to return the money was lost. There are frequent allusions in old authors to this practice.
So MS.—Not in old eds.
The bear-garden in the Bankside, Southwark.
In Titus Andronicus, v. i, we have the expression "to fight at head" ("As true a dog as ever fought at head"), "To fly at the head" was equivalent to "attack;" and in Nares' Glossary (ed. Halliwell) the expression "run on head," in the sense of incite, is quoted from Heywood's Spider and Flie, 1556.
Covered with hawks' dung.
"Harry Hunkes" and "Sacarson" were the names of two famous bears (probably named after their keepers). Slender boasted to Anne Page, "I have seen Sackarson loose twenty times and have taken him by the chain."
So MS.—Old eds. "holds."
So MS.—Old eds. "swears."
Dyce shows that Samuel Daniel is meant by Dacus (who has already been ridiculed in Ep. xxx.). In Daniel's Complaint of Rosamond (1592) are the lines —
Perhaps there is an allusion to this epigram in Marston's fourth satire:—
So eds. B, C.—Ed. A "draw." (Epigrams xlv.-xlviii. are not in the MS.)
Ended in 1598 by the peace of Vervins.
The war between Austria and Turkey was brought to a close in 1606.
A reference to Tyrone's insurrection, 1595--1602.
So Isham copy.—Not in other eds.
See note, p. 232.
Dyce points out that by Lepidus is meant Sir John Harington, whose dog Bungey is represented in a compartment of the engraved title-page of the translation of Orlando Furioso, 1591. In his epigrams (Book III. Ep. 21) Harington refers to this epigram of Davies, and expresses himself greatly pleased at the compliment paid to his dog.
This sonnet and the two following pieces are only found in Isham copy and ed. A.
So Isham copy.—Ed. A "fill."
"Bouse" was a cant term for "drink."
See note 4 p. 226.
It was a common practice for gallants to wear their mistresses' garters in their hats.
A well-known bookseller.
Old ed. "Blount."
Paul's Churchyard, the Elizabethan "Booksellers' Row."
Old ed. "launcht."—The forms "lanch" and "lance" are used indifferently.
"Et ardenti servilia bella sub Ætna."
"Nec polus adversi calidus qua vergitur Austri."
"Obliquo sidere."
"Summis que negatum, Stare diu."
"Exiguum dominos commisit asylum."
"So old ed. in some copies which had been corrected at press; other copies 'Aezean.'"—Dyce.
A somewhat weak translation of Lucan's most famous line — "Victrix causa dus placuit, sed victa Catoni."
As the line stands we must take "nod" and "fall" transitively ("though every blast make it nod and seem to make it fall"). The original has "At quamvis primo nutet casura sub Euro."
"Fecunda virorum, Paupertas."
"Ingens visa duct patriae trepidantis imago"
"Inde moras solvit belli."
"Nuda jam crate fluentes/Invadunt clypeos."
"Jactatis … Gracchis"
Marlowe omits to translate the words that follow in the original:— "Utque ducem varias volventem pectore curas Conspexit."
A line (omitted by Marlowe) follows in the original — "Par labor atque metus pretio majore petuntur.'
An obscure rendering of
Old ed. "Eleius." It is hardly possible to suppose (as Dyce suggests) that Marlowe took the adjective "Eleus" for a substantive.
A mistranslation of "carcere clauso" ("Carcer" is the barrier or starting-place in the circus.)
"Immineat foribus." "Souse" is a north-country word meaning to bang or dash. It is also applied to the swooping-down of a hawk.
Old ed. "leaders."
So Dyce for the old ed's. "Brabbling" The original has "Marcerusque loquax." ("Brabbling'means' wrangling.")
A mistake (or perhaps merely a misprint) for "Cihcian."
Old ed. has "Jaded, king of Pontus!"
"Unless we understand this in the sense of—say I receive no reward (—and in Fletcher's Woman-Hater, 'merit means—derive profit, B and F.'s Works, 1. 91, ed. Dyce,—), it is a wrong translation of 'mihi si merces erepta laborum est.'"—Dyce.
"Sicilia" should be "Cilicia."
A free translation of the frigid original—


text:
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subset: commoncrawl


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text:
|2004-04-02, 00:28
|Link #1
Fate/ Stay Night
Join Date: Jun 2003
AIR - Generic discussion thread
*thanks to Demonrugal of Gamefaqs*
AIR: The Movie
According to the site, it says that it's being released by TOEI in Fall of 2004.
Is this real or is it just some kind of a really, really, really sick April Fools joke?
To those that don't know, AIR is a bishoujo game (dating sim) from the makers of Kanon, and was voted the best game of 2000 and 2001 in Japan (yes, it's that damn good). It's widely considered by bishoujo game fans as one of the best, if not the best bishoujo game ever created.
|2004-04-02, 14:37
|Link #3
Gomen asobase desuwa!
Join Date: Nov 2003
Age: 39
It is most likely true since:
A. The rumor has been around Japanese otaku world for at least six month before on the info page MOON PHASE
B. The director Dezaki Osamu blurted out in his online diary on March 8th about the difficulty of drawing/reproducing something similar to Itaru-san's art sketch from "AIR"
C. If "Kanon" was done by Toei, it is assumable that "AIR" would be also from Toei, as written on the HP
D. A special column about this will be on the next issue of Newtype and/or Comptiq magazine.
|2004-04-26, 21:31
|Link #5
Rewrite of the Life
AIR the MOVIE thread
ok I can't wait for this to come out and since many people like animes such as:
This is created by the creators of Kanon. It is a dating sim released by KEY/ Visual Arts. As kj1980 will come here (no doubt) since he is so leet with dating sims So here we will post up to date info and such
* bows down to kj1980*
the official movie site is: http://www.air2004.com/ nothing yet tho ^-^"
|2004-04-26, 21:43
|Link #6
Join Date: Nov 2003
I really almost despise anime based on h-games and dating sims, but I am interested in this for the sole reason that it is directed by Osamu Dezaki(Black Jack, Rose of Versailles, Brother, Dear Brother, Aim for the Ace!), so I will see how it turns out.
|2004-04-26, 22:18
|Link #8
Senior Member
Join Date: Jun 2003
Location: good 'ole US of A
|2004-04-29, 17:08
|Link #12
Team the box!
Join Date: Jan 2004
Location: Badside
I'm looking forward to this, also. Kanon is one of my favorite shows and I've liked all the anime based on ero-games that I've seen. I have no knowledge of the game, however. I hope a movie format can tell the story well enough and doesn't expect the viewer to be familiar with the characters and stories already from playing the game.
|2004-04-29, 21:29
|Link #14
Senior Member
Join Date: Jun 2003
Location: good 'ole US of A
I haven't played the game (must be obvious right?) but I know its the most popular bishoujo game ever so I flipped through an Air artbook out of curiosity once. It was non-descript and not enough to catch me then, but I'm willing to give Air a chance now.
Can someone give me a non-spoiler summary of the game? (If that's possible given the different story paths.)
|2004-04-29, 23:00
|Link #16
Team the box!
Join Date: Jan 2004
Location: Badside
Main Entry: 1ro·man·tic
Pronunciation: rO-'man-tik, r&-
Function: adjective
Etymology: French romantique, from obsolete romant romance, from Old French romans
1 : consisting of or resembling a romance
2 : having no basis in fact : IMAGINARY
3 : impractical in conception or plan : VISIONARY
4 a : marked by the imaginative or emotional appeal of what is heroic, adventurous, remote, mysterious, or idealized
These games are written for guys. That's why it's aways some looser male character with girls all over him to choose from. It's the fantasy of the target audience. The guy probably seems faceless because he is. It's supposed to be the person playing the game. You make the decisions based on what you would do.
As a guy, I get easily attached to the girls portraid (I usually think the guy is an idiot) and I find the games (the one I've actually played) and shows quite emotional.
And, come on, there is no fanservice in the Kanon series.
|2004-04-29, 23:47
|Link #17
annoying white bat
Join Date: Jan 2004
|2004-04-29, 23:53
|Link #18
tsubasa o sagashite
What I'm worried about is how they will manage to fit the entire storyline into a regular length feature. Maybe if they only follow one path and only for the first third of the game :/
|2004-04-30, 01:19
|Link #19
Senior Member
Join Date: Jun 2003
Location: good 'ole US of A
TronDD, I agree that your definition is what these shows are like. That's what I don't like about them, but its the reason fans do like them. I can stomach these types of shows, even rank them among my all-time favorites, if I can like the characters and not just the ones of the opposite sex of the viewer. If the execution of these scenarios are really well done, I enjoy it. Its just rare that I see a scene or a situation in these shows that I find entertaining or touching or not contrived. Its all fantasy, but if it didn't have some realism in character and situation nobody would like it, even you guys.
The series I enjoy that have romance in them are not purely romance anime. There's more going on in the series that attracts me and they feature more than one character that I like. I mean series like Princess Tutu, Fruits Basket (both shoujo not shonen I know), Saikano (the horrors of war aspect drew me), Video Girl Ai (that was for guys and I liked that one), and Rizelmine (i liked the humour and it didn't take itself seriously).
And few game adaptations have fanservice? Kanon is the only one I can think that doesn't. And Sakura Wars, though it had its moments. (Tsukihime I'll put in the "I don't know" category. But the artbook I saw sure as heck had fanservice...) The rest have nudity, sex scenes, or panty shots. I can't remember which came from games and which not, but all these shonen romance series have fanservice: Lime Iro-Senkitan (game), Green Green, KimiNozo (game), Canvas, UFO Princess Valkerie, Popotan, Onegai Twins, Onegai Teacher, Love Hina, Rizelmine, Hanaukyo Maids, the upcoming My Hime. Even Ghibli's only shounen romance (and weakest work) "I Can Hear the Sea" had some fanservice, albeit not much. This is where it gets the reputation of being shallow fanservice material catering to males. The real gems of the genre, if there are any, get drowned in the crap.
Now can someone please give me a plot summary of Air? I'm genuinely interested to know what its about. I'd like to see if its anything like the romance stories I do like. I'm not asking just so I can say how stupid the story is. I want to know what's its about and why its so popular because it sounds like it could have potential.
|2004-04-30, 01:30
|Link #20
Fate/ Stay Night
Join Date: Jun 2003
Read this for a brief plot summary of AIR.
AIR Plot Summary/Review
Note: Don't think that's all there is to AIR. That summary doesn't even begin to scratch the surface of the story.
There's a reason why this game was voted as Game of the Year two years in a row.
|bishoujo, drama, key, kyoto animation, seinen
|Thread Tools


text:
The Berkshire Regional Transit Authority in Massachusetts is partnering with a nonprofit organization to put homeless veterans to work in an intermodal transportation center.
A new intelligent transportation system and a team of homeless veterans could soon rewrite the book on bus travel efficiency in Berkshire County, Mass.
The Berkshire Regional Transit Authority (BRTA) has partnered with Soldier On, a nonprofit organization supporting veterans, and RouteMatch, a transportation software provider, to establish a one-click, one-call center within the Authority's Intermodal Transportation Center. When completed next year, riders will have access to real-time information on bus arrival times, Wi-Fi access and other amenities. Many veterans will also be employed to staff the center.
In addition, advanced scheduling technology will enable former military members and other riders to more efficiently book transportation to and from various appointments. The project is being funded through a $2 million U.S. Department of Transportation grant.
According to Jack Downing, CEO of Soldier On, the idea spawned from conversations with BRTA Administrator Gary Shepard about how inefficient transportation was for homeless veterans in the county. Downing operates a rideshare program to take vets to various appointments, but the vehicles consistently only have one or two riders.
Shepard admitted that the BRTA was "behind the curve" in regard to technology, but it has been working to upgrade its systems over the past three years through various other grants. The DOT funding will enable them to integrate its technology, make it more intelligent and develop joint schedules for riders, particularly those with special needs.
"Our veterans and their families are part of the population that we would serve, so that's a natural extension in how we can provide transportation for that group and also for those that are physically and mentally challenged in need of public transit," Shepard said.
Downing noted that of all the veterans that return to a community, only "30 to 40 percent" ever get to VA centers to receive the medical and other services they're entitled to, resulting in "marginalized lives." He believes a lack of reliable transportation — particularly in rural areas — is one of the core reasons some veterans end up underserved, unidentified and at risk of being homeless.
One of the project's goals is to create what Shepard described as "deviated service," where a bus can stop at a facility to pick up a person at an appointment. Through a coordinated schedule, that person could either ride the bus to a stop near his or her home, or get picked up at a location later by a van to finish the trip home. Shepard and Downing believe that in the long run, efficiency gains could result in cost savings for both the rider and the BRTA. And the service would improve quality of life in the community.
The project is in its early stages. Shepard explained that the BRTA has a pilot program under way involving two buses. The vehicles both have Wi-Fi and are outfitted with QR codes on the outside and inside, giving smartphone users additional information. The pilot has also opened a bus route that hasn't been in service for a decade and uses the area's college population as a testing ground for the new technology.
Shepard said the bus fleet and intelligent transportation system should be fully up and running by June 2014. The call center should be completed by December 2014. Downing explained that everyone in his homeless veterans program has a minimum of a high school diploma and are ideally suited for jobs in the one-click, one-call center.
"We have a community of people who are somewhat educated and who've been trained to duty," Downing said. "So taking and training them to do the tasks that are going to evolve in this center is something that we think is readily attainable."
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Huntsville Independent School District helps close the digital divide with Google for Education
Huntsville Independent School District (HISD) is a public school district in Huntsville, Texas serving 6,300 students, ages 3–18, across 9 campuses. The district focuses on delivering a broad educational experience, including access to vocational learning, to ensure the future success of its students. HISD is especially committed to providing great opportunities and access to online learning resources to close the digital divide among a student population where 70% qualify for free or reduced school meals.
"There are now many occasions where I can adapt my lesson plan by finding additional activities and shared learning experiences to help the group or specific individuals go deeper on a topic. This amount of flexibility is made possible through Chromebooks."Charly Baker, Middle school math teacher, Huntsville Independent School District
HISD wanted to change the way instruction was delivered and use technology effectively to improve student engagement and learning. The district did not have access to online educational resources across all its schools and students. If teachers wanted to use technology in their classes, they first had to schedule time in a lab that was \ consistently overtaxed with requests. As a first step, HISD invested heavily in its wi-fi infrastructure, laying the foundation for use of online educational resources in the classroom.
The cost of hardware was also a major issue. The district's IT team was stretched managing an Exchange email server that constantly had problems and suffered viruses. Worst of all, this maintenance used funds that would have otherwise been used to acquire new devices for students.
Amy Mayer, Director of Staff Development and District Initiatives for HISD, explains, "We badly needed a cost-effective, low maintenance approach to using technology on a daily basis."
The easy access to online resources, affordability and durability made Chromebooks the perfect option for HISD, which piloted 350 Chromebooks in junior high and high school in 2012. Chromebooks, Google's laptop running Chrome OS, are fast, portable, secure devices that allow students to easily get online, find educational resources, and collaborate and learn.
The district also signed up for Google Apps for Education, which is a web-based productivity suite with email, calendar and document creation, free for schools. This meant that the costly, high maintenance Exchange server was no longer needed and time and resources could be re-focused elsewhere.
"The convenience of having a device where everything is stored online and boots up at lightening speed means teachers can now use them in the classroom whenever they think they could help. When you consider all the software licenses, server investment and ongoing maintenance costs of running regular laptops, we were blown away by how cost-effective and practical the Chromebooks were," adds Mayer.
Huntsville now has over 800 Chromebooks and continues to purchase more. As Chromebooks take only seconds to boot up and allow for easy access to Google Apps and online resources, introducing them to staff and students was hassle-free and easy to manage right from the start.
"The impact of Chromebooks within our classrooms and the wider teacher/ parent community has been phenomenal. We have had parents literally burst into tears with gratitude that their children's school can supply something so potentially life-changing that they couldn't afford to provide—the access to online learning resources both in school and at home."Amy Mayer, Director of Staff Development and District Initiatives, Huntsville Independent School District
Student-driven learning
The ability to use online resources has also made learning much more student-centric and student-driven. Where students were formerly reliant on teachers for answers and information, they're now able to research topics independently. When they do call upon their teachers, it is no longer for fact-based answers, but rather for in-depth, creative questioning. In turn, the content students produce is more substantial.
One example is a project on the "Power for Food" where students kept a food journal for 7 days to understand what their nutritional intake was. Brenda Schultz, 7th grade math teacher, explains, "It was really interesting how involved the kids were with this project. If it had been on paper, it would have just been a table or a paragraph from a book but using Chromebooks and Google Apps, students developed richer projects, with detailed research supplemented by images and video content."
More resources for teachers
Chromebooks also give greater flexibility in lesson planning for teachers. Charly Baker, a middle school math teacher explains, "Chromebooks have challenged me to think outside of the box in terms of teaching. There are now many occasions where I can adapt my lesson plan by finding additional activities and shared learning experiences to help the group or specific individuals go deeper on a topic. This amount of flexibility is made possible through Chromebooks."
Increased access to learning—anytime, anywhere
Students can also take Chromebooks home and for some, this was the first time they had access to such technology and learning resources out of the classroom. With Google docs, students can access all their documents created in class from any location and continue their work from home. This ease of access makes a particular difference for students trying to balance financial needs of supporting their family with part-time jobs and completing their studies. Susan Cason, high school math teacher, recounted, "One of my students has a part-time job to help his family pay bills. His grades used to suffer as his time after school was spent working. The Chromebook allows him to get all his learning and school work done during the school day in a more productive way or at home after his job. He can also supplement his learning through online videos. As a result, his grades are improving."


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A collection of scholarly works about individual liberty and free markets. A project of Liberty Fund, Inc.
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Historical Period:
The 20th Century and Beyond
Richard B. Vernier is an Adjunct Professor of American History at Purdue University at Calumet and a specialist in the field of Anglo-American ideas of political economy. He obtained his doctorate from St. Catherine's College, Oxford.


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Exploring the Amalfi Coast of Italy on foot
The ancient pathway was long and rocky. Lined with delicate orchids and scented by zesty lemon groves, it zigzagged up the mountain and out of view. Far below, waves crashed against giant boulders, and an endless succession of cars, coaches and mopeds swept around the countless hairpin bends.
Italy's fabled Amalfi Coast may be one of the world's great drives, but I had come with other ideas. Laced with trails first carved in the Middle Ages and used by mules to transport goods between villages, the hills and mountains of Amalfi offer some of the very best hiking in all the Mediterranean.
I was going to spend four days walking the 25 miles between Amalfi and Sorrento -- a self-guided journey, stopping at various coastal towns and remote hamlets along the way. There was little to worry about: My luggage was being transported ahead by the company that arranges the walks, and I was armed with maps so detailed and walking notes so comprehensive that even someone as directionally challenged as I would struggle to get lost.
It was late morning by the time my friend Karen and I arrived in Amalfi (via bus, train and boat from Naples), and the central plaza was buzzing. People shuffled into the plentiful limoncello shops and gathered on the steep staircase leading to the Duomo di Sant' Andrea, the 9th-century Romanesque cathedral that stands at the heart of the town.
Keeping a watchful eye over the plaza were an elderly couple, high on their top-floor balcony. Wrapped in snug dressing gowns, the pair surveyed the scene in silence.
Amalfi's surge in popularity began in Edwardian times, when wealthy families from across Europe deemed it a pleasant place to spend their winters. By the 1950s, it had gained a reputation for glamour and sophistication. Today, it attracts travelers in search of fine food, eye-popping scenery and weather that's nothing short of sublime.
Rising early the next morning to the chimes of the cathedral, we pulled on our walking boots, grabbed our daypacks -- laden with picnic snacks -- and set off for Praiano, a westward journey of about seven miles.
The labyrinthine backstreets of Amalfi -- so narrow that I could touch the walls on either side of me simultaneously -- offered intriguing snapshots of local life. Through open windows came the crackling sounds of Italian opera; curious dogs came rushing to locked gates barking and sniffing wildly. Elsewhere, small chapels appeared with wilted flowers placed besides statues of the Virgin Mary.
Before long, the houses faded away, replaced by panoramas of terraced hillsides set upon slopes that soar almost vertically from the water's edge. The sea sparkled, flecks of light catching every ripple and wave.
The day passed in a state of blissful rambling: crossing quiet woodland and gushing streams; strolling past eerie hillside cemeteries and roadside stalls selling chilies, lemons and rotund melons.
After lunch on a small rocky clearing, we stumbled upon a small cafe filled with locals enjoying a quick caffeine fix. Most seemed impressed that we were taking our time to explore their spectacular home. "People usually drive along the whole coast in a day or two," said one in a thick Italian accent, swigging a strong espresso. "But why rush such beauty?"
Praiano materialized several sweaty hours later. Sandwiched between Amalfi and Positano, this small hamlet of 1,800 receives merely a fraction of the visitors that descend on its famous neighbors, despite its intimate hotels, charming restaurants and quiet beaches.
Dinner was a well-deserved feast served on the terrace of La Strada, a restaurant carved into the rock face and overlooking the craggy coastline. The jagged peaks of the Lattari Mountains, rising to heights of 4,700 feet, faded into the darkening sky. In the foothills, the distant lights of Positano began to twinkle.
"Praiano is a treasure missed by most," said the English-speaking woman at the next table. "All the world flocks to Positano, but here it's peaceful, and there are still secrets to discover."
As I glanced over the menu, one dish in particular stood out: grilled sea bass in "crazy water." Baffled, I quizzed the waiter. "Ah, it's a special broth of tomatoes, garlic and parsley. It was first made by local sailors in the 12th century, and the original recipe used seawater. But things have improved a lot since then," he was quick to assure us.
Our anticipation was running high -- not just for the crazy water (which proved delicious and not at all salty) -- but also for the following day's walk along the famed Sentiero degli Dei (Path of the Gods). Once peppered with Roman temples, it's the unequivocal highlight of walking the Amalfi Coast.
Rushing away from Praiano too hastily, however, would have been a mistake, for down the road was another effortlessly beautiful bay by the name of Praia. The dazzling teal sea lapped hypnotically against countless light-gray pebbles as Speedo-clad swimmers capitalized on another sunny day. Fishermen, wearing more conservative attire, huddled together waiting patiently for a catch.
Dominating the bay was a tall and slightly lopsided cylindrical tower called Torre a Mare -- the Sea Tower -- one of several built in the Middle Ages during Amalfi's darkest chapter. Savaged by Saracen pirates who sailed in spreading terror, kidnapping women and ransacking villages, the coast endured widespread turmoil.
In fact, much of the region's past is both brutal and bloody. Shipwrecked Romans took control in the 4th century; the Normans invaded in 1073 and ruled until 1135. The Spanish also had a turn. But Amalfi prospered in times of turbulence. It became an important trading state dealing in everything from spices and ivory to timber from the Middle East and salt from Sardinia.
A closer look at the stone defense tower revealed that the door was ajar. Inside, charcoal portrait sketches covered the walls, and abstract sculptures crammed the sideboards. In the corner, hunched over a piece of clay, was Paolo Sandulli.
An artist famed for his cheeky caricatures of local fishermen, Paolo is something of a local celebrity. For the past 20 years, he has sat on Praia beach quietly sketching anglers and later molding them into figurines.
Now 64, Paolo was born in Avellino, on Italy's east coast, but holidayed in Praiano as a child. "I was blown away immediately. The colors of the water, all the beautiful fish, the lovely villages," he reminisced. "My mum and I would wait for the fishermen every morning and took great delight in choosing what we would have for dinner that evening. The beach was our supermarket."
"Back then, there was only one hotel here and only two restaurants," he said. "So it's changed a lot, but I still see beauty everywhere I go."
I could have spent all day listening to Paolo's tales of Amalfi's bygone days and admiring his humorous works of art, but a heavenly ascent along the Path of the Gods beckoned.
The initial portion of the six-mile trail, leaving from the glazed cupola of Praiano's Church of San Gennaro, was steep and relentless. For the better part of an hour, we huffed and puffed our way up the 1,900-foot-tall peak, following a seemingly never-ending stone staircase dotted with 14 large wooden crosses.
Help was in sight at the top in the form of Domenico, the friendly caretaker of the abandoned 16th-century San Domenico convent. He couldn't help chuckling. "You look a little tired. But don't worry, Positano is only three hours from here," he said, pointing to the faraway cluster of pastel-colored houses that tumbled down the mountain.
Jumping to his feet, he rushed off to press some lemons and pick fresh figs from the trees -- refreshments we enjoyed from the comfortable armchairs placed around the shady courtyard. After a quick peek inside the monastery's musty interior to admire its fading frescoes, it was time to continue. The rest of the trail was mostly and mercifully gentle, running along flat paths with vertiginous drops framing rocky cliffs and sapphire inlets.
After a stretch of dense and shady forest, we emerged into the almost deserted hamlet of Nocelle, perched nearly 1,500 feet above sea level. The only people we saw were a father and son walking their dog and a man sitting silently beside a shrine to Jesus. He looked up, somewhat startled at the unexpected company, and smiled.
Positano was still some distance away, at the bottom of 1,700 thigh-straining steps that wove down the peak. We stumbled into town looking slightly disheveled and rather out of place among the immaculate residents and decadent surroundings. Gleaming yachts rocked in the harbor not far from the helipad and the abundance of fashion boutiques. Well-dressed couples swept through the attractive piazzas bound for the alfresco cafes and gelaterias.
Such affluence is the reality of modern-day Positano, but I was far more interested in its past. Inside the Church of Santa Maria Assunta stands a precious wooden panel, carved in the 13th century and depicting the Virgin Mary, to which the town owes its name, which roughly means "put there" in Latin.
According to legend, the panel was stolen by pirates who encountered a fearsome storm during their escape. Suddenly the clouds parted, and a loud call erupted from the skies, ordering them to return and put it back. Terrified, they did as they were told.
The next port of call on our walk, reached via high ridges and a succession of fishing bays, was the modern and rather characterless town of Sant'Agata sui Due Golfi. Our accommodations, however, were anything but characterless. Built in the 18th century, Le Tore is a rustic eight-bedroom farmhouse set among 35 acres of olive groves, apple orchards and rolling pastures. Owner Vittoria Brancaccio was on hand to greet us.
"We produce everything ourselves -- the elderberry juice, the olive oil, the limoncello," she said proudly in perfect English. "Even the soap in the bathrooms."
Such spots were once common on the Sorrento Peninsula, but not so now. "Many farms have sadly been abandoned," Vittoria said. "It's a tragedy, but we've kept our traditions. People come here for the fresh air and the peace and quiet, the chance to escape."
She had a point. Le Tore proved to be the perfect place to simply sit and take stock of our journey. Joining me in the gravel courtyard was Tex, Vittoria's friendly Labrador. He dozed happily in the sunshine surrounded by oak barrels filled with wine (homemade, of course) and crates of freshly picked vegetables.
Our pilgrimage was coming to an end as we set off the following day for Sorrento. The six-mile trail was quiet and punctuated by views across the Bay of Naples to Capri so fine that they stopped us in our tracks. Appearing majestically on the mainland was Sorrento, its beaches and long boulevards filled with travelers, all falling under the irresistible spell of the Amalfi Coast. But how many, I wondered, had taken the time to see it in all its glory?