Shakespeare: Pericles (Per-13)

The un-Shakespearean quality of the first two acts has been noted and are generally accepted as being the work of George Wilkins. Notes and Queries ccxiv (1969) 288-91 and ccxv (1970) 135-141 had suggested Wilkins as the likely author (and perhaps Heywood and Rowley as candidates for authorship, though these attributions have been questioned cf AS (1963) lvii). The general consensus now, e.g. OS (2003, ed. Rogerr Warren) is for Wilkins, although F. D. Hoeniger argued the case for attribution to John Day (AS 1963 lxii-lxiii and App. B pp. 171-180). In his commentary on the place of music in the play, (ib.lxxviii-lxxix), he notes how nowhere else did Shakespeare use music as often and as widely except in The Tempest where in both ‘when the storms subside, music takes over’. See also N&Q vii (1960) 172-4 article by J. P. Cutts ‘Pericles’ Most Heavenly Musicke’.

In this ‘miracle play’ F. W. Sternfeld notes how it ‘utilises music prominently and extensively to mark the intervention of powers greater than man.’ B284 all music soft and insidious. Opens with 3 trumpet blasts. Cf.. Hoeniger in AS (1963) lxxviii-lxxix on the place of music in the play, noting how both here and in The Tempest ‘when the storm subsides, music takes over’. He also emphasises the musical accomplishment on the part of both Pericles and Marina. Brissenden discusses the significance of the dance in the play (BR77-84), and also follows up Geoffrey Bullough’s suggestion that Pericles could play a musical instrument (BR123). Alexander Leggatt remarks how ‘the moments of greatest wonder in the play are accompanied by music’, while the character, Marina needs to be able to sing, having been ‘trained in music’s letters’ (JN542), and singing ‘like one immortal’. (Cambridge Companion to Shakespeare comedy 2002, p. 222). See also comments at 263 and 265 below.

Conversely Nosworthy maintains that ‘such music as the play contains is a separate element whose total omission would make little or no difference’! (NN66). See also articles by William A. McIntosh ‘Musical design in Pericles’ English Language Notes, ii (1973-4) 102, and by Patricia K. Meszaros ‘Shakespeare’s Divine Musical Comedy’ in C.W.Cary Shakespeare and the Arts, 1982, pp. 3-20. Lomax (p.94-5, 97) notes how the ‘transition from earthly to heavenly happiness is made particularly through the play’s use of music’ and ‘the combination of silence and music is particularly effective in reminding the audience of the dream-like world of ghosts who live only as long as the play lasts.’

[Recent editions of the play, including The Stanley Wells Shakespeare Complete works (2^nd ed. OUP 2005, pp. 1063-1086) divide the play into 22 scenes — here indicted in square brackets preceding the 5 Act line numbering which had hitherto been in general use.]