OST readers of Pericles are agreed that the play's literary and dramatic quality is highly uneven. Much of the first two acts is written in doggerel, sometimes flat sometimes twisted, for which no superior dramatist, let alone Shakespeare, can be held responsible. On the other hand, passages, especially AxR4w in the three acts, bear the mark of consummate verse-artistry and abound in echoes to romances, The Winter's Tale and The Tempest. It is no wonder then, that from early days doubt was cast on the play's authorship. Though on the title-page of the quartos, Pericles was attributed to Shakespeare, it was omitted from the First Folio. Only in the second impression of the Third Folio was it finally included in the Shakespeare canon, and then together with a number of apocrypha that no one today would attribute to Shakespeare. Editors in the eighteenth century were no happier about Pericles, as its omission in the editions of works from Pope to Capell indicates. Since Malone, Pericles has enjoyed a fairly regular place in the canon, mainly on account of the three Shakespearian acts. For time, critics and editors sought to explain the play's obvious weaknesses in terms of youthful authorship. They accepted Dryden's unreliable statement that Shakespeare's Muse her Pericles first bore. But when towards the middle of the century, scholars were driven to assign to the play a much later place in the canon, namely at the beginning of the last plays, controversy took a new turn in the form of lengthy theses and countertheses about the play's authorship. Some even went so far as to reedit only the three acts as a unit, which they called Marina. Yet no agreement has been reached. The situation to-day is as confused or unsettled as three generations ago, for no theory based on literary or bibliographical grounds has found a wide following. Many scholars still attribute parts of Pericles, especially the first two acts, to Heywood or to Wilkins or, more cautiously, to some unidentified while others postulate that Shakespeare wrote the entire play but that what was printed as the first quarto (from which all other texts are derivative) is so far removed from the original as sometimes to eclipse planet completely. There the controversy stands, unresolved. It is still very hot, and I propose to keep the fire burning by introducing yet another collaborator, one nobody seems ever to have thought of before in connection with Pericles.