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diff --git a/old/12198-h/12198-h.htm b/old/12198-h/12198-h.htm new file mode 100644 index 0000000..399d795 --- /dev/null +++ b/old/12198-h/12198-h.htm @@ -0,0 +1,3371 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> +<head> + <meta http-equiv="Content-Type" + content="text/html; charset=iso-8859-1" /> + + <title>Notes And Queries, Issue 22.</title> + <style type="text/css"> + + /*<![CDATA[*/ + <!-- + body {margin-left: 10%; margin-right: 10%;} + p {text-align: justify;} + blockquote {text-align: justify;} + h1,h2,h3,h4,h5,h6 {text-align: center;} + pre {font-size: 0.7em;} + + hr {text-align: center; width: 50%;} + html>body hr {margin-right: 25%; margin-left: 25%; width: 50%;} + hr.full {width: 100%;} + html>body hr.full {margin-right: 0%; margin-left: 0%; width: 100%;} + hr.adverts {width: 100%; height: 5px; color: black;} + html>body hr.adverts {margin-right: 0%; margin-left: 0%; width: 100%;} + hr.short {text-align: center; width: 20%;} + html>body hr.short {margin-right: 40%; margin-left: 40%; width: 20%;} + + + .note, .footnote {margin-left: 10%; margin-right: 10%; + font-size: 0.9em;} + + .poem {margin-left:10%; margin-right:10%; + text-align: left;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem p {margin: 0; padding-left: 3em; text-indent: -3em;} + .poem p.i2 {margin-left: 2em;} + .poem p.i4 {margin-left: 4em;} + .poem p.i6 {margin-left: 6em;} + .poem p.i8 {margin-left: 8em;} + .poem p.i10 {margin-left: 10em;} + .poem .caesura {vertical-align: -200%;} + + span.pagenum {position: absolute; left: 1%; right: 91%; + font-size: 8pt;} + + p.author {text-align: right;} + --> + /*]]>*/ + </style> +</head> + +<body> + + +<pre> + +The Project Gutenberg EBook of Notes & Queries, No. 22., Saturday, March +30, 1850, by Various + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Notes & Queries, No. 22., Saturday, March 30, 1850 + +Author: Various + +Release Date: April 29, 2004 [EBook #12198] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK NOTES & QUERIES, NO. 22 *** + + + + +Produced by Jon Ingram, Internet Library of Early Journals, William +Flis, and the Online Distributed Proofreading Team. + + + + + + +</pre> + + <span class="pagenum"><a name="page345" + id="page345"></a>{345}</span> + + <h1>NOTES AND QUERIES:</h1> + + <h2>A MEDIUM OF INTER-COMMUNICATION FOR LITERARY MEN, ARTISTS, + ANTIQUARIES, GENEALOGISTS, ETC.</h2> + <hr /> + + <h3><b>"When found, make a note of."</b>—CAPTAIN + CUTTLE.</h3> + <hr class="full" /> + + <table summary="masthead" + width="100%"> + <tr> + <td align="left" + width="25%"><b>No. 22.</b></td> + + <td align="center" + width="50%"><b>SATURDAY, MARCH 30. 1850.</b></td> + + <td align="right" + width="25%"><b>Price Threepence.<br /> + Stamped Edition 4d.</b></td> + </tr> + </table> + <hr class="full" /> + + <p>CONTENTS.</p> + + <table summary="Contents" + align="center"> + <tr> + <td align="left">NOTES:—</td> + + <td align="right">Pages</td> + </tr> + + <tr> + <td align="left">The Taming of the Shrew, by Samuel + Hickson</td> + + <td align="right"><a href="#page345">345</a></td> + </tr> + + <tr> + <td align="left">Proverbial Sayings and their + Origins</td> + + <td align="right"><a href="#page347">347</a></td> + </tr> + + <tr> + <td align="left">William Basse and his Poems</td> + + <td align="right"><a href="#page348">348</a></td> + </tr> + + <tr> + <td align="left">Folk Lore:—Something else about + Salting. Norfolk Weather Proverb, Irish Medical Charms. + Death-bed Superstitions</td> + + <td align="right"><a href="#page349">349</a></td> + </tr> + + <tr> + <td align="left">Note on Herodotus by Dean Swift</td> + + <td align="right"><a href="#page350">350</a></td> + </tr> + + <tr> + <td align="left">Herrick's Hesperides, by J.M. + Gutch</td> + + <td align="right"><a href="#page350">350</a></td> + </tr> + + <tr> + <td></td> + + <td></td> + </tr> + + <tr> + <td align="left">QUERIES:—</td> + + <td></td> + </tr> + + <tr> + <td align="left">Rev. Dr. Thomlinson</td> + + <td align="right"><a href="#page350">350</a></td> + </tr> + + <tr> + <td align="left">Minor Queries:—"A" or + "An"—The Lucky have whole Days—Line quoted + by De Quincey—Bishop Jewel's + Papers—Allusion in Friar Brackley's + Sermon—Quem Deus Vult perdere—Snow of + Chicksand Priory—The Bristol Riots—A living + Dog better than a dead Lion—American + Bittern—Inquisition in Mexico—Masters of + St. Cross—Etymology of "Dalston"—"Brown + Study"—Coal-Brandy—Swot</td> + + <td align="right"><a href="#page350">350</a></td> + </tr> + + <tr> + <td></td> + + <td></td> + </tr> + + <tr> + <td align="left">REPLIES:—</td> + + <td></td> + </tr> + + <tr> + <td align="left">The Dodo, by S.W. Singer</td> + + <td align="right"><a href="#page353">353</a></td> + </tr> + + <tr> + <td align="left">Watching the Sepulchre, by Rev. Dr. + Rock, and E.V.</td> + + <td align="right"><a href="#page354">354</a></td> + </tr> + + <tr> + <td align="left">Poem by Sir E. Dyer</td> + + <td align="right"><a href="#page355">355</a></td> + </tr> + + <tr> + <td align="left">Robert Crowley, by Rev. Dr. + Maitland</td> + + <td align="right"><a href="#page355">355</a></td> + </tr> + + <tr> + <td align="left">Replies to Minor Queries:—John + Ross + Mackay—Shipster—Gourders—Rococo—God + tempers the Wind—Guildhalls—Treatise of + Equivocation—Judas Bell—Grummet</td> + + <td align="right"><a href="#page356">356</a></td> + </tr> + + <tr> + <td></td> + + <td></td> + </tr> + + <tr> + <td align="left">MISCELLANIES:—</td> + + <td></td> + </tr> + + <tr> + <td align="left">Duke of Monmouth—To + Philautus—Junius—Arabic Numerals</td> + + <td align="right"><a href="#page358">358</a></td> + </tr> + + <tr> + <td></td> + + <td></td> + </tr> + + <tr> + <td align="left">MISCELLANEOUS:—</td> + + <td></td> + </tr> + + <tr> + <td align="left">Books and Odd Volumes wanted</td> + + <td align="right"><a href="#page359">359</a></td> + </tr> + + <tr> + <td align="left">Notices to Correspondents</td> + + <td align="right"><a href="#page359">359</a></td> + </tr> + + <tr> + <td align="left">Advertisements</td> + + <td align="right"><a href="#page359">359</a></td> + </tr> + </table> + <hr /> + + <h3>THE TAMING OF THE SHREW.</h3> + + <p>In two former communications on a subject incidental to that + to which I now beg leave to call your attention, I hinted at a + result far more important than the discovery of the author of + the <i>Taming of a Shrew</i>. That result I lay before your + readers, in stating that I think I can show grounds for the + assertion that the <i>Taming of the Shrew</i>, by Shakspeare, + is the <i>original</i> play; and that the <i>Taming of a + Shrew</i>, by Marlowe or what other writer soever, is a + <i>later</i> work, and an <i>imitation</i>. I must first, + however, state, that having seen Mr. Dyce's edition of Marlowe, + I find that this writer's claim to the latter work had already + been advanced by an American gentleman, in a work so obvious + for reference as Knight's <i>Library Edition of Shakspeare</i>. + I was pretty well acquainted with the contents of Mr. Knight's + <i>first</i> edition; and knowing that the subsequent work of + Mr. Collier contained nothing bearing upon the point, I did not + think of referring to an edition published, as I understood, + rather for the variation of form than on account of the + accumulation of new matter. Mr. Dyce appears to consider the + passages cited as instances of imitation, and not proofs of the + identity of the writer. His opinion is certainly entitled to + great respect: yet it may, nevertheless, be remarked, first + that the instance given, supposing Marlowe not to be the + author, would be cases of theft rather than imitation, and + which, done on so large a scale, would scarcely be confined to + the works of one writer; and, secondly, that in original + passages there are instances of an independence and vigour of + thought equal to the best things that Marlowe ever + wrote—a circumstance not to be reconciled with the former + supposition. The following passage exhibits a freedom of + thought more characteristic of this writer's reputation than + are most of his known works:—</p> + + <div class="poem"> + <div class="stanza"> + <p>"And custom-free, you marchants shall commerce</p> + + <p>And interchange the profits of your land,</p> + + <p>Sending you gold for brasse, silver for lead,</p> + + <p>Casses of silke for packes of wol and cloth,</p> + + <p>To bind this friendship and confirme this + league."</p> + </div> + + <div class="stanza"> + <p class="author"><i>Six Old Plays</i>, p. 204.</p> + </div> + </div> + + <p>A short account of the process by which I came to a + conclusion which, if established, must overthrow so many + ingenious theories, will not, I trust, be uninteresting to your + readers. In the relationship between these two plays there + always seemed to be something which needed explanation. It was + the only instance among the works of Shakspeare in which a + direct copy, even to matters of detail, appeared to have been + made; and, in spite of all attempts to gloss over and palliate, + it was impossible to deny that an unblushing act of mere piracy + seemed to have been committed, of which I never could bring + myself to believe that Shakspeare had been guilty. The + readiness to impute this act to him was to me but an instance + of the unworthy manner in which he had almost universally been + treated; and, without at the time having any suspicion of what + I now take to be the fact, + <span class="pagenum"><a name="page346" + id="page346"></a>{346}</span> I determined, if possible, to + find it out. The first question I put to myself was, Had + Shakspeare himself any concern in the older play? A second + glance at the work sufficed for an answer in the negative. I + next asked myself on what authority we called it an "older" + play. The answer I found myself obliged to give was, greatly + to my own surprise, On no authority whatever! But there was + still a difficulty in conceiving how, with Shakspeare's work + before him, so unscrupulous an imitator should have made so + poor an imitation. I should not have felt this difficulty + had I then recollected that the play in question was not + published; but, as the case stood, I carefully examined the + two plays together, especially those passages which were + identical, or nearly so, in both, and noted, in these cases, + the minutest variations. The result was, that I satisfied + myself that the original conception was invariably to be + found in Shakspeare's play. I have confirmed this result in + a variety of ways, which your space will not allow me to + enter upon; therefore, reserving such circumstances for the + present as require to be enforced by argument, I will + content myself with pointing out certain passages that bear + out my view. I must first, however, remind your readers that + while some plays, from their worthlessness, were never + printed, some were withheld from the press on account of + their very value; and of this latter class were the works of + Shakspeare. The late publication of his works created the + impression, not yet quite worn out, of his being a later + writer than many of his contemporaries, solely because their + printed works are dated earlier by twenty or thirty years. + But for the obstinate effects of this impression, it is + difficult to conceive how any one could miss the original + invention of Shakspeare in the induction, and such scenes as + that between Grumio and the tailor; the humour of which + shines, even in the feeble reflection of the imitation, in + striking contrast with those comic(?) scenes which are the + undisputed invention of the author of the <i>Taming of a + Shrew</i>.</p> + + <p>The first passage I take is from Act IV. Sc. 3.</p> + + <blockquote> + <p>"<i>Grumio</i>. Thou hast fac'd many <i>things</i>?</p> + + <p>"<i>Tailor</i>. I have.</p> + + <p>"<i>Gru.</i> Face not me: thou hast brav'd many men; + brave not me. I will neither be fac'd nor brav'd."</p> + </blockquote> + + <p>In this passage there is a play upon the terms "fac'd" and + "brav'd." In the tailor's sense, "things" may be "fac'd" and + "men" may be "brav'd;" and, by means of this play, the tailor + is entrapped into an answer. The imitator, having probably seen + the play represented, has carried away the words, but by + transposing them, and with the change of one + expression—"men" for "things"—has lost the spirit: + there is a pun no longer. He might have played upon "brav'd," + but there he does not wait for the tailor's answer; and + "fac'd," as he has it, can be understood but in one sense, and + the tailor's admission becomes meaningless. The passage is as + follows:—</p> + + <blockquote> + <p>"<i>Saudre</i>. Dost thou hear, tailor? thou hast brav'd + many men; brave not me. Th'ast fac'd many men.</p> + + <p>"<i>Tailor</i>. Well, Sir?</p> + + <p>"<i>Saudre</i>. Face not me; I'll neither be fac'd nor + brav'd at thy hands, I can tell thee."—p. 198.</p> + </blockquote> + + <p>A little before, in the same scene, Grumio says, "Master, if + ever I said loose-bodied gown, sew me in the skirts of it, and + beat me to death with a bottom of brown thread." I am almost + tempted to ask if passages such as this be not evidence + sufficient. In the <i>Taming of a Shrew</i>, with the variation + of "sew me in a <i>seam</i>" for "sew me in <i>the skirts of + it</i>," the passage is also to be found; but who can doubt the + whole of this scene to be by Shakspeare, rather than by the + author of such scenes, intended to be comic, as one referred to + in my last communication (No. 15. p. 227., numbered 7.), and + shown to be identical with one in <i>Doctor Faustus</i>? I will + just remark, too, that the best appreciation of the spirit of + the passage, which, one would think, should point out the + author, is shown in the expression, "sew me in the <i>skirts of + it</i>," which has meaning, whereas the variation has none. A + little earlier, still in the same scene, the following bit of + dialogue occurs:—</p> + + <div class="poem"> + <div class="stanza"> + <p>"<i>Kath.</i> I'll have no bigger; this doth fit the + time,</p> + + <p>And gentlewomen wear such caps as these.</p> + </div> + + <div class="stanza"> + <p>"<i>Pet.</i> When you are gentle, you shall have one + too,</p> + + <p>and not till then."</p> + </div> + </div> + + <p>Katharine's use of the term "gentlewomen" suggests here + Petruchio's "gentle." In the other play the reply is evidently + imitated, but with the absence of the suggestive + cue:—</p> + + <div class="poem"> + <div class="stanza"> + <p>"For I will home again unto my father's house.</p> + </div> + + <div class="stanza"> + <p>"<i>Ferando</i>. I, when y'are meeke and gentle, but + not before."—p. 194.</p> + </div> + </div> + + <p>Petruchio, having dispatched the tailor and haberbasher, + proceeds—</p> + + <div class="poem"> + <div class="stanza"> + <p>"Well, come my Kate: we will unto your father's,</p> + + <p>Even in these honest mean habiliments;</p> + + <p>Our purses shall be proud, our garments + poor;"—p. 198.</p> + </div> + </div> + + <p>throughout continuing to urge the vanity of outward + appearance, in reference to the "ruffs and cuffs, and + farthingales and things," which he had promised her, and with + which the phrase "honest mean habiliments" is used in contrast. + The sufficiency <i>to the mind</i> of these,</p> + + <div class="poem"> + <div class="stanza"> + <p>"For 'tis the mind that makes the body rich,"</p> + </div> + </div> + + <p>is the very pith and purpose of the speech. Commencing in + nearly the same words, the imitator entirely mistakes this, in + stating the object of clothing to be to "shrowd us from the + winter's rage;" which is, nevertheless, true enough, though + completely beside the purpose. In Act II. Sc. 1., Petruchio + says,—</p><span class="pagenum"><a name="page347" + id="page347"></a>{347}</span> + + <div class="poem"> + <div class="stanza"> + <p>"Say that she frown; I'll say she looks as clear</p> + + <p>As morning roses newly wash'd with dew."</p> + </div> + </div> + + <p>Here is perfect consistency: the clearness of the "morning + <i>roses</i>," arising from their being "wash'd with dew;" at + all events, the quality being heightened by the circumstance. + In a passage of the so-called "older" play, the duke is + addressed by Kate as "fair, lovely lady," &c.</p> + + <div class="poem"> + <div class="stanza"> + <p>"As glorious as the morning wash'd with + dew."—p. 203</p> + </div> + </div> + + <p>As the morning does not derive its glory from the + circumstance of its being "wash'd with dew," and as it is not a + peculiarly apposite comparison, I conclude that here, too, as + in other instances, the sound alone has caught the ear of the + imitator.</p> + + <p>In Act V. Sc. 2., Katharine says,—</p> + + <div class="poem"> + <div class="stanza"> + <p>"Then vail your stomachs; for it is no boot;</p> + + <p>And place your hand below your husband's foot;</p> + + <p>In token of which duty, if he please,</p> + + <p>My hand is ready: may it do him ease."</p> + </div> + </div> + + <p>Though Shakspeare was, in general, a most correct and + careful writer, that he sometimes wrote hastily it would be + vain to deny. In the third line of the foregoing extract, the + meaning clearly is, "as which token of duty;" and it is the + performance of this "token of duty" which Katharine hopes may + "do him ease." The imitator, as usual, has caught something of + the words of the original which he has laboured to reproduce at + a most unusual sacrifice of grammar and sense; the following + passage appearing to represent that the wives, by laying their + hands under their husbands' feet—no reference being made + to the act as a token of duty—in some unexplained manner, + "might procure them ease."</p> + + <div class="poem"> + <div class="stanza"> + <p>"Laying our hands under their feet to tread,</p> + + <p>If that by that we might procure their ease,</p> + + <p>And, for a precedent, I'll first begin</p> + + <p>And lay my hand under my husband's feet."—p. + 213.</p> + </div> + </div> + + <p>One more instance, and I have done. Shakspeare has imparted + a dashing humorous character to this play, exemplified, among + other peculiarities, by such rhyming of following words + as—</p> + + <div class="poem"> + <div class="stanza"> + <p>"Haply to <i>wive</i> and <i>thrive</i> as least I + may."</p> + </div> + + <div class="stanza"> + <p>"We will have <i>rings</i> and <i>things</i> and + fine array."</p> + </div> + + <div class="stanza"> + <p>"With <i>ruffs</i>, and <i>cuffs</i>, and + farthingales and things."</p> + </div> + </div> + + <p>I quote these to show that the habit was Shakspeare's. In + Act I. Sc. 1. occurs the passage—"that would thoroughly + woo her, wed her, and bed her, and rid the house of her." The + sequence here is perfectly natural: but observe the change: in + Ferando's first interview with Kate, he says,—</p> + + <div class="poem"> + <div class="stanza"> + <p>"My mind, sweet Kate, doth say I am the man</p> + + <p>Must wed and bed <i>and marrie</i> bonnie + Kate."—p. 172.</p> + </div> + </div> + + <p>In the last scene, Petruchio says,—</p> + + <div class="poem"> + <div class="stanza"> + <p>"Come, Kate, we'll to bed:</p> + + <p>We three are married, but you two are sped."</p> + </div> + </div> + + <p>Ferando has it thus:—</p> + + <div class="poem"> + <div class="stanza"> + <p>"'Tis Kate and I am wed, and you are sped:</p> + + <p>And so, farewell, for we will to our bed."—p. + 214.</p> + </div> + </div> + + <p>Is it not evident that Shakespeare chose the word "sped" as + a rhyme to "bed," and that the imitator, in endeavouring to + recollect the jingle, has not only spoiled the rhyme, but + missed the fact that all "three" were "married," + notwithstanding that "two" were "sped"?</p> + + <p>It is not in the nature of such things that instances should + be either numerous or very glaring; but it will be perceived + that in all of the foregoing, the purpose, and sometimes even + the meaning, is intelligible only in the form in which we find + it in Shakespeare. I have not urged all that I might, even in + this branch of the question; but respect for your space makes + me pause. In conclusion, I will merely state, that I have no + doubt myself of the author of the <i>Taming of a Shrew</i> + having been Marlowe; and that, if in some scenes it appear to + fall short of what we might have expected from such a writer, + such inferiority arises from the fact of its being an + imitation, and probably required at a short notice. At the same + time, though I do not believe Shakspeare's play to contain a + line of any other writer, I think it extremely probable that we + have it only in a revised form, and that, consequently, the + play which Marlow imitated might not necessarily have been that + fund of life and humour that we find it now.</p> + + <p class="author">SAMUEL HICKSON.</p> + + <p>St. John's Wood, March 19. 1850.</p> + <hr /> + + <h3>PROVERBIAL SAYINGS AND THEIR ORIGINS—PLAGIARISMS AND + PARALLEL PASSAGES.</h3> + + <div class="poem"> + <div class="stanza"> + <p>"Ον οι + Θεοι + φιλουσιν + αποθνησκει + νεοσ."</p> + </div> + </div> + + <p>Brunck, <i>Poëtæ Gnomici</i>, p. 231., quoted by + Gibbon, <i>Decl. and Fall</i> (Milman. Lond. 1838. 8vo.), xii. + 355. (<i>note</i> 65.)</p> + + <div class="poem"> + <div class="stanza"> + <p>"Quem Jupiter vult perdere, priùs + dementat."</p> + </div> + </div> + + <p>These words are Barnes's translation of the following + fragment of Euripides, which is the 25th in Barnes' ed. (see + <i>Gent.'s Mag.</i>, July, 1847, p. 19, + <i>note</i>):—</p> + + <div class="poem"> + <div class="stanza"> + <p>"Οταν δε + Δαιμων + ανδρι + πορσυνη + κακα,</p> + + <p>Τον νουν + εξλαψε + προτον."</p> + </div> + </div> + + <p>This, or a similar passage, may have been employed + proverbially in the time of Sophocles. See l. 632. et seq. of + the <i>Antigone</i> (ed. Johnson. Londini. 1758. 8vo.); on + which passage there is the following scholium:—</p> + + <div class="poem"> + <div class="stanza"> + <p>"Μετα + σοφιασ + γαρ υπο + τινοσ + αοιδιμου + κλεινον + εποσ + πεφανται,</p> + + <p class="i2">Οταν δ' + ο δαιμων + ανδρι + πορσυνη + κακα,</p> + + <p class="i2">Τον + νουν + εξλαψε + προτον ω + βουλευεtai.</p> + </div> + </div><span class="pagenum"><a name="page348" + id="page348"></a>{348}</span> + + <p>Respecting the lines referred to in the Chorus, Dr. + Donaldson makes the following remarks, in his critical edition + of the <i>Antigone</i>, published in 1848:—</p> + + <blockquote> + <p>"The parallel passages for this adage are fully given by + Ruhnken on Velleius Paterculus, ii. 57. (265, 256.), and by + Wyttenbach on Plutarch, <i>De Audiendis Poetis</i>, p. 17. + B. (pp. 190, 191.)"</p> + </blockquote> + <hr class="short" /> + + <div class="poem"> + <div class="stanza"> + <p>"Music hath charms to soothe a savage breast,</p> + + <p>To soften rocks, or bend a knotted oak."</p> + </div> + </div> + + <p>Congreve's <i>Mourning Bride</i>, act i. sc. i. l. 1.</p> + <hr class="short" /> + + <div class="poem"> + <div class="stanza"> + <p>"L'appetit vient en mangeant."</p> + </div> + </div> + + <p>Rabelais, <i>Gargantua</i>, Liv. i. chap. 5. (vol. i. p. + 136, ed. Variorum. Paris, 1823. 8vo.)</p> + + <p>This proverb had been previously used by Amyot, and probably + also by Jerome le (or de) Hangest, who was a Doctor of the + Sorbonne, and adversary of Luther, and who died in + 1538.—Ibid. p. 136 (<i>note</i> 49.).</p> + <hr class="short" /> + + <p>I know not how old may be "to put the cart before the + horse." Rabelais (i. 227.) has—</p> + + <div class="poem"> + <div class="stanza"> + <p>"Il mettoyt la charrette devant les beufz."</p> + </div> + </div> + <hr class="short" /> + + <div class="poem"> + <div class="stanza"> + <p>"If the sky falls, we shall catch larks."</p> + </div> + </div> + + <p>Rabelais (i. 229, 230.):—</p> + + <div class="poem"> + <div class="stanza"> + <p>"Si les nues tomboyent, esperoyt prendre + alouettes."</p> + </div> + </div> + <hr class="short" /> + + <div class="poem"> + <div class="stanza"> + <p>"Good nature and good sense must ever join;</p> + + <p>To err is human, to forgive divine."</p> + </div> + </div> + + <p class="author">Pope's <i>Essay on Criticism</i>, pp. 524, + 525.</p> + <hr class="short" /> + + <div class="poem"> + <div class="stanza"> + <p>"Nay, fly to altars, there they'll talk you + dead;</p> + + <p>For fools rush in where angels fear to tread."</p> + </div> + </div> + + <p class="author">Ib. pp. 624, 625.</p> + <hr class="short" /> + + <p>The Emperor Alexander of Russia is said to have declared + himself "un accident heureux." The expression occurs in Mad. de + Staël's <i>Allemagne</i>, § xvi.:—</p> + + <blockquote> + <p>"Mais quand dans un état social le bonbeur + lui-même n'est, pour ainsi dire, <i>qu'un accident + heureux</i> ... le patriotisme a peu de + persévérance."</p> + </blockquote> + <hr class="short" /> + + <p>Gibbon, <i>Decl. and Fall</i> (Lond. 1838. 8vo.), i. + 134.:—</p> + + <blockquote> + <p>"His (T. Antoninus Pius') reign is marked by the rare + advantage of furnishing very few materíals for + history; which is indeed little more than the register of + the crimes, follies, and misfortunes of mankind."</p> + </blockquote> + + <p>Gibbon's first volume was published in 1776, and Voltaire's + <i>Ingenii</i> in 1767. In the latter we find—</p> + + <div class="poem"> + <div class="stanza"> + <p>"En effet, l'historie n'est que le tableau des + crimes</p> + + <p>et des malheurs."—<i>Oeuvres de Voltaire</i> + (ed. Beuchot.</p> + + <p>Paris, 1884. 8vo.), tom. xxxiii. p. 427.</p> + </div> + </div> + <hr class="short" /> + + <p>Gibbon, vol. ix. p. 94.:—</p> + + <blockquote> + <p>"In every deed of mischief, he (Andronicus Comnenus) had + a heart to resolve, a head to contrive, and a hand to + execute."</p> + </blockquote> + + <p>Cf. Voltaire, "Siècle de Louis XV." (<i>Oeuvres</i>, + xxi. p. 67.):—</p> + + <blockquote> + <p>"Il (le Chevalier de Belle-Isle) était capable de + tout imaginer, de tout arranger, et de tout faire."</p> + </blockquote> + <hr class="short" /> + + <div class="poem"> + <div class="stanza"> + <p>"Guerre aux chateaux, paix à la + chaumière,"</p> + </div> + </div> + + <p>ascribed to Condorcet, in <i>Edin. Rev.</i> April, 1800. p. + 240. (<i>note</i>*)</p> + + <p>By Thiers (<i>Hist. de la Rév. Franç.</i> Par. + 1846. 8vo. ii. 283.), these words are attributed to Cambon; + while, in Lamartine's <i>Hist. des Girondins</i> (Par. 1847. + 8vo.), Merlin is represented to have exclaimed in the Assembly, + "Déclarez la guerre aux rois et la paix aux + nations."</p> + <hr class="short" /> + + <p>Macaulay's <i>Hist. of England</i> (1st ed.), ii. + 476:—</p> + + <blockquote> + <p>"But the iron stoicism of William never gave way: and he + stood among his weeping friends calm and austere, as if he + had been about to leave them only for a short visit to his + hunting-grounds at Loo."</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p>"... non alitèr tamen</p> + + <p class="i2">Dimovit obstantes propinquos,</p> + + <p class="i4">Et populum reditus morantem,</p> + + <p>Quàm si clientum longa negotia</p> + + <p>Dijudicatâ lite relinqueret,</p> + + <p class="i2">Tendens Venafranos in agros,</p> + + <p class="i4">Aut Lacedæmonium Tarentum."</p> + </div> + </div> + + <p class="author">Hor. <i>Od.</i> iii. v. 50-56.</p> + <hr class="short" /> + + <div class="poem"> + <div class="stanza"> + <p>"De meretrice puta quòd sit sua filia + puta,</p> + + <p class="i2">Nam sequitur levitèr filia matris + iter."</p> + </div> + </div> + + <p>These lines are said by Ménage (<i>Menagiana</i>, + Amstm. 1713. 18mo., iii. 12mo.) to exist in a Commentary "In + composita verborum Joannis de Galandiâ."</p> + + <p class="author">F.C.B.</p> + <hr /> + + <h3>WILLIAM BASSE AND HIS POEMS.</h3> + + <p>Your correspondent, the Rev. T. Corser, in his note on + William Basse, says, that he has been informed that there are, + in Winchester College Library, in a 4to. volume, some poems of + that writer. I have the pleasure of assuring him that his + information is correct, and that they are the "Three Pastoral + Elegies" mentioned by Ritson. The title-page runs + thus:—</p> + + <blockquote> + <p>"Three Pastoral Elegies of Anander, Anetor, and + Muridella, by William Bas. Printed by V.S. for J.B., and + are to be sold at his shop in Fleet Street, at the sign of + the Great Turk's Head, 1602."</p> + </blockquote> + + <p>Then follows a dedication, "To the Honourable + <span class="pagenum"><a name="page349" + id="page349"></a>{349}</span> and Virtuous Lady, the Lady + Tasburgh;" from which dedication it appears that these + Pastoral Elegies were among the early efforts of his Muse. + The author, after making excuses for not having repaid her + Ladyship's encouragement earlier, says,—</p> + + <blockquote> + <p>"Finding my abilitie too little to make the meanest + satisfaction of so great a principall as is due to so many + favourable curtesies, I am bold to tende your Ladyship this + unworthy interest, wherewithal I will put in good + securitie, that as soone as time shall relieve the + necessitie of my young invention, I will disburse my Muse + to the uttermost mite of my power, to make some more + acceptable composition with your bounty. In the mean space, + living without hope to be ever sufficient inough to yeeld + your worthinesse the smallest halfe of your due, I doe only + desire to leave your ladyship in assurance—</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p>"That when increase of age and learning sets</p> + + <p class="i2">My mind in wealthi'r state than now it + is,</p> + + <p>I'll pay a greater portion of my debts,</p> + + <p class="i2">Or mortgage you a better Muse than + this;</p> + + <p class="i2">Till then, no kinde forbearance is + amisse,</p> + + <p>While, though I owe more than I can make good,</p> + + <p>This is inough, to shew how faine I woo'd,</p> + </div> + + <div class="stanza"> + <p class="i10">Your Ladyship's in all humblenes</p> + </div> + + <div class="stanza"> + <p class="i10">"WILLUM BAS."</p> + </div> + </div> + + <p>The first Pastoral consists of thirty-seven stanzas; the + second of seventy-two; the third of forty-eight; each stanza of + eight ten-syllable verses, of which the first six rhyme + alternately; the last two are a couplet. There is a short + argument, in verse, prefixed to each poem. That of the first + runs thus:—</p> + + <div class="poem"> + <div class="stanza"> + <p>"Anander lets Anetor wot</p> + + <p>His love, his lady, and his lot."</p> + </div> + </div> + + <p>of the second,—</p> + + <div class="poem"> + <div class="stanza"> + <p>"Anetor seeing, seemes to tell</p> + + <p>The beauty of faire Muridell,</p> + + <p>And in the end, he lets hir know</p> + + <p>Anander's plaint, his love, his woe."</p> + </div> + </div> + + <p>of the third,—</p> + + <div class="poem"> + <div class="stanza"> + <p>Anander sick of love's disdaine</p> + + <p>Doth change himself into a swaine;</p> + + <p>While dos the youthful shepherd show him</p> + + <p>His Muridellaes answer to him."</p> + </div> + </div> + + <p>This notice of these elegies cannot fail to be highly + interesting to your correspondent on Basse and his works, and + others of your readers who feel an interest in recovering the + lost works of our early poets.</p> + + <p class="author">W.H. GUNNER</p> + + <p>Winchester, March 16. 1850.</p> + <hr /> + + <h3>FOLK LORE.</h3> + + <p><i>Something else about "Salting."</i>—On the first + occasion, after birth, of any children being taken into a + neighbour's house, the mistress of the house always presents + the babe with an egg, a little flour, and some salt; and the + nurse, to ensure good luck, gives the child a taste of the + pudding, which is forthwith compounded out of these + ingredients. This little "mystery" has occurred too often to be + merely accidental; indeed, all my poorer neighbours are + familiarly acquainted with the custom; and they tell me that + money is often given in addition at the houses of the rich.</p> + + <p>What is the derivation of <i>cum grano salis</i> as a hint + of caution? Can it come from the M.D.'s prescription; or is it + the grain of Attic salt or wit for which allowance has to be + made in every well-told story?</p> + + <p class="author">A.G.</p> + + <p>Ecclesfield Vicarage, March 16, 1850.</p> + + <p><i>Norfolk-Weather-Rhyme</i>.</p> + + <div class="poem"> + <div class="stanza"> + <p>"First comes David, then comes Chad,</p> + + <p>And then comes Winneral as though he was mad,</p> + + <p class="i4">White or black,</p> + + <p class="i4">Or old house thack."</p> + </div> + </div> + + <p>The first two lines of this weather proverb may be found in + Hone's <i>Every-Day Book</i>, and in Denham's <i>Proverbs and + Popular Sayings relating to the Seasons</i> (edited for the + Percy Society): but St. Winwaloe, whose anniversary falls on + the 3rd of March, is there called "Winnold," and not, as in our + bit of genuine Norfolk, <i>Winneral</i>. Those versions also + want the explanation, that at this time there will be either + snow, rain, or wind; which latter is intended by the "old house + thack," or thatch.</p> + + <p><i>Medical Charms used in Ireland—Charm for + Toothache</i>.—It is a singular fact, that the charm for + toothache stated (No. 19. p. 293.) to be prevalent in the + south-eastern counties of England, is also used by the lower + orders in the county of Kilkenny, and perhaps other parts of + Ireland. I have often heard the charm: it commences, "Peter sat + upon a stone; Jesus said, 'What aileth thee, Peter?'" and so + on, as in the English form.</p> + + <p><i>To cure Warts</i>, the following charm is used:—A + wedding-ring is procured, and the wart touched or pricked with + a gooseberry thorn through the ring.</p> + + <p><i>To cure Epilepsy</i>, take three drops of sow's milk.</p> + + <p><i>To cure Blisters</i> in a cow's mouth, cut the blisters; + then slit the upper part of the tail, insert a clove of garlic, + and tie a piece of <i>red cloth</i> round the wound.</p> + + <p><i>To cure the Murrain in Cows</i>.—This disease is + supposed to be caused by the cow having been stung about the + mouth while feeding, in consequence of contact with some of the + larger larvæ of the moth (as of the Death's-head Sphynx, + &c.), which have a soft fleshy horn on their tails, + erroneously believed to be a sting. If a farmer is so lucky as + to procure one of these rare larvæ, he is to bore a hole + in an <i>ash tree</i>, and plug up the unlucky caterpillar + alive in it. The leaves of that ash tree will, from + thenceforth, be a specific against the disease.</p> + + <p>The universal prevalence of the superstition concerning the + ash is extremely curious.</p> + + <p class="author">J.G.</p> + + <p>Kilkenny.</p><span class="pagenum"><a name="page350" + id="page350"></a>{350}</span> + + <p><i>Death-bed Superstition</i>.—See <i>Guy + Mannering</i>, ch. xxvii. and note upon it:—</p> + + <blockquote> + <p>"The popular idea that the protracted struggle between + life and death is painfully prolonged by keeping the door + of the apartment shut, was received as certain by the + superstitious eld of Scotland."</p> + </blockquote> + + <p>In my country (West Gloucestershire) they throw open the + windows at the moment of death.</p> + + <p>The notion of the escape of the soul through an opening is + probably only in part the origin of this superstition. It will + not account for opening <i>all</i> the locks in the house. + There is, I conceive, a notion of analogy and association.</p> + + <p>"Nexosque et solveret artus," says Virgil, at the death of + Dido. They thought the soul, or the life, was tied up, and that + the unloosing of any knot might help to get rid of the + principle, as one may call it. For the same superstition + prevailed in Scotland as to marriage (Dalyell, p. 302.). + Witches cast knots on a cord; and in a parish in Perthshire + both parties, just before marriage, had every knot or tie about + them loosened, though they immediately proceeded, in private, + severally to tie them up again. And as to the period of + childbirth, see the grand and interesting ballad in Walter + Scott's <i>Border Poems</i>, vol. ii. p. 27., "Willye's + Lady."</p> + + <p class="author">C.B.</p> + <hr /> + + <h3>NOTE ON HERODOTUS BY DEAN SWIFT.</h3> + + <p>The inclosed unpublished note of Dean Swift will, I hope, be + deemed worthy of a place in your columns. It was written by him + in his Herodotus, which is now in the library of Winchester + College, having been presented to it in 1766, by John Smyth de + Burgh, Earl of Clanricarde. The genuineness of the handwriting + is attested by a certificate of George Faulkner, who, it + appears, was well qualified to decide upon it. The edition is + Jungerman's, folio, printed by Paul Stephens, in 1718.</p> + + <p class="author">W.H. GUNNER.</p> + + <blockquote> + <p>"<i>Judicium de Herodoto post longum tempus + relicto</i>:—</p> + + <p>"Ctesias mendacissimus Herodotum mendaciorum arguit, + exceptis paucissimis (ut mea fert sententia) omnimodo + excusandum. Cæterum diverticulis abundans, hic pater + Historicorum, filum narrationis ad tædium abrumpit; + unde oritur (ut par est) legentibus confusio, et exinde + oblivio. Quin et forsan ipsæ narrationes + circumstantiis nimium pro re scatent. Quod ad cætera, + hunc scriptorem inter apprimè laudandos censeo, + neque Græcis, neque barbaris plus æquo + faventem, aut iniquum: in orationibus fere brevem, + simplicem, nec nimis frequentem: Neque absunt dogmata, e + quibus eruditus lector prudentiam, tam moralem, quam + civilem, haurire poterit.</p> + + <p>"Julii 6: 1720. J. SWIFT"</p> + + <p>"I do hereby certify that the above is the handwriting + of the late Dr. Jonathan Swift, D.S.P.D., from whom I have + had many letters and printed several pieces from his + original MS.</p> + + <p>"Dublin, Aug. 21. 1762. GEORGE FAULKNER."</p> + </blockquote> + <hr /> + + <h3>HERRICK'S HESPERIDES.</h3> + + <p>There can be few among your subscribers who are unacquainted + with the sweet lyric effusion of Herrick "to the Virgins, to + make much of Time," beginning—</p> + + <div class="poem"> + <div class="stanza"> + <p>"Gather you rose-buds while ye may,</p> + + <p class="i2">Old Time is still a-flying;</p> + + <p>And this same flower, that smiles to-day,</p> + + <p class="i2">To-morrow will be dying."</p> + </div> + </div> + + <p>The following "Answer" appeared in a publication not so well + known as the <i>Hesperides</i>. I have therefore made a note of + it from <i>Cantos, Songs, and Stanzas</i>, &c., 3rd ed. + printed in Aberdeen, by John Forbes, 1682.</p> + + <div class="poem"> + <div class="stanza"> + <p>"I gather, where I hope to gain,</p> + + <p class="i2">I know swift Time doth fly;</p> + + <p>Those fading buds methinks are vain,</p> + + <p class="i2">To-morrow that may die.</p> + </div> + + <div class="stanza"> + <p>"The higher Phoebus goes on high,</p> + + <p class="i2">The lower is his fall;</p> + + <p>But length of days gives me more light,</p> + + <p class="i2">Freedom to know my thrall.</p> + </div> + + <div class="stanza"> + <p>"Then why do ye think I lose my time,</p> + + <p class="i2">Because I do not marrie;</p> + + <p>Vain fantasies make not my prime,</p> + + <p class="i2">Nor can make me miscarrie."</p> + </div> + </div> + + <p class="author">J.M. GUTCH.</p> + + <p>Worcester.</p> + <hr class="full" /> + + <h2>QUERIES.</h2> + + <h3>REV. DR. TOMLINSON.</h3> + + <p>Mr. G. Bouchier Richardson, of Newcastle-upon-Tyne, who is + at present engaged in compiling the life and correspondence of + Robert Thomlinson, D.D., Rector of Whickham, co. Dur.; Lecturer + of St. Nicholas, Newcastle-upon-Tyne, and founder of the + Thomlinson Library there; Prebendary of St. Paul's; and + Vice-Principal of Edmund Hall, Oxon., is very anxious for the + communication of any matter illustrative of the life of the + Doctor, his family and ancestry; which, it is presumed, is + derivable from the family of that name long seated at Howden, + in Yorkshire.</p> + <hr /> + + <h3>MINOR QUERIES.</h3> + + <p><i>"A" or "An," before Words, beginning with a + Vowel.</i>—Your readers are much indebted to Dr. Kennedy + for his late exposure of the erroneous, though common, use of + the phrase "mutual friend," and I am convinced that there are + many similar solecisms which only require to be denounced to + ensure their disuse. I am anxious to ask the opinion of Dr. K., + and others of your subscribers, on another point in the English + language, namely, the principles which should guide our use of + "A" or "An" before a word beginning with a vowel, as the + practice does not appear to be uniform in this respect. The + <span class="pagenum"><a name="page351" + id="page351"></a>{351}</span> minister of my parish + invariably says in his sermon, "Such an one," which, I + confess, to my ear is grating enough. I conclude he would + defend himself by the rule that where the succeeding word, + as "one," begins with a vowel, "An," and not "A," should be + used; but this appears to me not altogether satisfactory, + as, though "one" is spelt as beginning with a vowel, it is + <i>pronounced</i> as if beginning with a consonant thus, + "won." The rule of adding or omitting the final "n," + according as the following word commences with a vowel or a + consonant, was meant, I conceive, entirely for elegance in + <i>speaking</i>, to avoid the jar on the ear which would + otherwise be occasioned, and has no reference to + <i>writing</i>, or the appearance on paper of the words. I + consider, therefore, that an exception must be made to the + rule of using "An" before words beginning with a vowel in + cases where the words are pronounced as if beginning with a + consonant, as "one," "use," and its derivatives, "ubiquity," + "unanimity," and some others which will no doubt occur to + your readers. I should be glad to be informed if my opinion + is correct; and I will only further observe, that the same + remarks are applicable towards words beginning with + "<i>h</i>." <i>An horse</i> sounds as bad as <i>a hour</i>; + and it is obvious that in these cases employment of "A" or + "An" is dictated by the consideration whether the aspirate + is <i>sounded</i> or is <i>quiescent</i>, and has no + reference to the spelling of the word.</p> + + <p class="author">PRISCIAN.</p> + + <p><i>The Lucky have whole Days.</i>—I, like your + correspondent "P.S." (No. 15., p. 231.), am anxious to + ascertain the authorship of the lines to which he refers.</p> + + <p>They stand in my Common-place Book as follows, which I + consider to be a more correct version than that given by + "P.S.":—</p> + + <div class="poem"> + <div class="stanza"> + <p>"Fate's dark recesses we can never find,</p> + + <p>But Fortune, at some hours, to all is kind:</p> + + <p>The lucky have whole days, which still they + choose;</p> + + <p>The unlucky have but hours, and those they + lose."</p> + </div> + </div> + + <p class="author">H.H.</p> + + <p><i>Line quoted by De Quincey.</i>—"S.P.S." inquires + who is the author of the following line, quoted by De Quincey + in the <i>Confessions of an English Opium Eater</i>:—</p> + + <div class="poem"> + <div class="stanza"> + <p>"Battlements that on their restless fronts bore + stars."</p> + </div> + </div> + + <p><i>Bishop Jewel's Papers.</i>—It is generally + understood that the papers left by Bishop Jewel were bequeathed + to his friend Dr. Garbrand, who published some of them. The + rest, it has been stated, passed from Dr. G. into the + possession of New College, Oxford. Are any of these still + preserved in the library of that college? or, if not, can any + trace be found of the persons into whose hands they + subsequently came, or of the circumstances under which they + were lost to New College?</p> + + <p class="author">A.H.</p> + + <p><i>Allusion in Friar Brackley's Sermon</i>.—In Fenn's + <i>Paston Letters</i>, XCVIII. (vol. iii., p. 393., or vol. i., + p. 113. Bohn), entitled "An ancient Whitsunday Sermon, preached + by Friar Brackley (whose hand it is). At the Friers Minors + Church in Norwich" occurs the following:—</p> + + <blockquote> + <p>"Semiplenum gaudium est quando quis in præsenti + gaudet et tunc cogitans de futuris dolet; ut in quodam + libro Græco, &c."</p> + + <p>"Quidam Rex Græciæ, &c.; here ye may see + but half a joy; who should joy in this world if he + remembered him of the pains of the other world?"</p> + </blockquote> + + <p>What is the Greek Book, and who is the king of Greece + alluded to?</p> + + <p class="author">N.E.R.</p> + + <p><i>Selden's Titles of Honour</i>.—Does any gentleman + possess a MS. Index to Selden's <i>Titles of Honour</i>? Such, + if printed, would be a boon; for it is a dreadful book to wade + through for what one wants to find.</p> + + <p class="author">B.</p> + + <p><i>Colonel Hyde Seymour</i>.—In a book dated 1720, is + written "Borrow the Book of Col. Hyde Seymour." I am anxious to + know who the said Colonel was, his birth, &c.?</p> + + <p class="author">B.</p> + + <p><i>Quem Deus vult perdere, &c</i>.—Prescot, in his + <i>History of the Conquest of Peru</i> (vol. ii., p. 404., 8vo. + ed.), says, while remarking on the conduct of Gonzalo Pisaro, + that it may be accounted for by "the insanity," as the Roman, + or rather Grecian proverb calls it, "with which the gods + afflict men when they design to ruin them." He quotes the Greek + proverb from a fragment of Euripides, in his note:—</p> + + <div class="poem"> + <div class="stanza"> + <p>"Οταν δε + Δαιμων + ανδρι + παρσυνη + κακα</p> + + <p>Τον νουν + εβλαψε + πρωτον."</p> + </div> + </div> + + <p>I wish to know whether the Roman proverb, <i>Quem vult + perdere Deus prius dementat</i>, is merely a translation of + this, or whether it is to be found in a Latin author? If the + latter, in what author? Is it in Seneca?</p> + + <p class="author">EDWARD S. JACKSON.</p> + + <p><i>Southwell's Supplication</i>.—Can any one inform me + where I can see a copy of <i>Robert Southwell's Supplication to + Queen Elizabeth</i>, which was printed, according to Watts, in + 1593? or can any one, who has seen it, inform me what is the + style and character of it?</p> + + <p class="author">J.S.</p> + + <p><i>Gesta Grayorum</i>.—In Nichol's <i>Progresses of + Queen Elizabeth</i>, vol. iii., p. 262., a tract is inserted, + entitled "Gesta Grayorum; or, History of the High and Mighty + Prince Henry, Prince of Purpoole, &c., who lived and died + in A.D. 1594." The original is said to have been printed in + 1688, by Mr. Henry Keepe. Is any copy of it to be had or + seen?</p> + + <p class="author">J.S.</p> + + <p><i>Snow of Chicksand Priory</i>.—"A.J.S.P." desires + information respecting the immediate descendants of R. Snow, + Esq., to whom the site of + <span class="pagenum"><a name="page352" + id="page352"></a>{352}</span> Chicksand Priory, + Bedfordshire, was granted, 1539: it was alienated by his + family, about 1600, to Sir John Osborn, Knt., whose + descendants now possess it. In Berry's <i>Pedigrees of + Surrey Families</i>, p. 83., I find an Edward Snowe of + Chicksand mentioned as having married Emma, second daughter + of William Byne, Esq., of Wakehurst, Sussex. What was his + relationship to R. Snow, mentioned above? The arms of this + family are, Per fesse nebulée azure, and argent three + antelopes' heads, erased counterchanged, armed or.</p> + + <p><i>The Bristol Riots</i>.—"J.B.M." asks our Bristol + readers what compilation may be relied on as an accurate + description of the Bristol riots of 1831? and whether <i>The + Bristol Riots, their Causes, Progress, and Consequences, by a + Citizen</i>, is generally received as an accurate account?</p> + + <p>1, Union Place, Lisson Grove.</p> + + <p><i>A Living Dog better that a Dead Lion</i>.—Can any + of your readers inform me with whom the proverb originated: + "<i>A living dog is better than a dead lion?</i>" F. Domin. + Bannez (or Bannes), in his defence of Cardinal Cajetan, after + his death, against the attacks of Cardinal Catharinus and + Melchior Canus (<i>Comment. in prim. par. S. Thom.</i> p. 450. + ed. Duaci, 1614), says—</p> + + <blockquote> + <p>"Certe potest dici de istis, quod de Græcis + insultantibus Hectori jam mortuo dixit Homerus, quòd + <i>leoni mortuo etiam lepores insultant</i>."</p> + </blockquote> + + <p>Query? Is this, or any like expression, to be found in + Homer? If so, I should feel much obliged to any of your + correspondents who would favour me with the reference.</p> + + <p class="author">JOHN SANSOM.</p> + + <p><i>Author of "Literary Leisure</i>."—Can any of your + readers inform me of the name of the author of <i>Literary + Leisure</i>, published by Miller, Old Bond Street, 1802, in 2 + volumes? It purports to have come out in weekly parts, of which + the first is dated Sept. 26. 1799. It contains many interesting + papers in prose and verse: it is dedicated to the Editors of + the <i>Monthly Review</i>. The motto in the title-page + is—</p> + + <div class="poem"> + <div class="stanza"> + <p>"Saiva res est: philosophatur quoque jam;</p> + + <p>Quod erat ei nomen? + Thesaurochrysonicochrysides."—Plautus.</p> + </div> + </div> + + <p>Is the work noticed in the <i>Monthly Review</i>, about that + time?</p> + + <p class="author">NEMO.</p> + + <p><i>The Meaning of "Complexion."</i>—Is the word + "complexion," used in describing an individual, to be + considered as applied to the <i>tint</i> of the skin only, or + to the colour of the hair and eyes? Can a person, having dark + eyes and hair, but with a clear white skin, be said to be + fair?</p> + + <p class="author">NEMO.</p> + + <p><i>American Bittern—Derivation of + "Calamity."</i>—It has been stated of an American + Bittern, that it has the power of admitting rays of light from + its breast, by which fish are attracted within its reach. Can + any one inform me as to the fact, or refer me to any + ornithological work in which I can find it?</p> + + <p>In answer to "F.S. Martin"—Calamity + (<i>calamitas</i>), not from <i>calamus</i>, as it is usually + derived, but perhaps from obs. <i>calamis</i>, i.e. + <i>columis</i>, from κολω + κολαω + κολαζω to maim, mutilate, + and so for <i>columitas</i>. (See Riddle's <i>Lat.-Eng. + Dictionary</i>.)</p> + + <p class="author">AUGUSTINE.</p> + + <p><i>Inquisition in Mexico.</i>—"D." wishes to be + furnished with references to any works in which the actual + establishment of the Inquisition in Mexico is mentioned or + described, or in which any other information respecting it is + conveyed.</p> + + <p><i>Masters of St. Cross</i>.—"H. EDWARDS" will be + obliged by information of any work except <i>Dugdale's + Monasticon</i>, containing a list of the names of the Master of + the Hospital of St. Cross, Winchester; or of the Masters or + Priors of the same place before Humphry de Milers; and of the + Masters between Bishop Sherborne, about 1491, and Bishop + Compton, about 1674.</p> + + <p><i>Etymology of "Dalston."</i>—The hamlet of Hackney, + now universally known only as <i>Dalston</i>, is spelt by most + topographists <i>Dorleston</i> or <i>Dalston</i>. I have seen + it in one old Gazette <i>Darlston</i>, and I observed it + lately, on a stone let in to an old row of houses, + <i>Dolston</i>; this was dated 1792. I have searched a great + many books in vain to discover the etymology, and from it, of + course, the correct spelling of the word, the oldest form of + which that I can find is <i>Dorleston</i>.</p> + + <p>The only probable derivations of it that I can find are the + old words <i>Doles</i> and <i>ton</i> (from Saxon <i>dun</i>), + a village built upon a slip of land between furrows of ploughed + earth; or <i>Dale</i> (Dutch <i>Dal</i>), and <i>stone</i>, a + bank in a valley. The word may, however, be derived from some + man's name, though I can find none at all like it in a long + list of tenants upon Hackney Manor that I have searched. If any + of your readers can furnish this information they will much + oblige.</p> + + <p class="author">H.C. DE ST. CROIX.</p> + + <p><i>"Brown Study"</i>—a term generally applied to + intense reverie. Why "brown," rather than blue or yellow? + <i>Brown</i> must be a corruption of some word. Query of + "barren," in the sense of fruitless or useless?</p> + + <p class="author">D.V.S.</p> + + <p><i>Coal Brandy</i>.—People now old can recollect that, + when young, they heard people then old talk of "coal-brandy." + What was this? <i>Cold</i>? or, in modern phase, <i>raw</i>, + <i>neat</i>, or <i>genuine</i>?</p> + + <p class="author">CANTAB.</p> + + <p><i>Swot</i>.—I have often heard military men talk of + <i>swot</i>, meaning thereby mathematics; and persons eminent + in that science are termed "<i>good swots</i>." As I never + heard the word except amongst the military, but there almost + universally in "free and + <span class="pagenum"><a name="page353" + id="page353"></a>{353}</span> easy," conversation, I am led + to think it a cant term. At any rate, I shall be glad to be + informed of its origin,—if it be not lost in the mists + of soldierly antiquity.</p> + + <p class="author">CANTAB.</p> + <hr class="full" /> + + <h2>REPLIES.</h2> + + <h3>THE DODO.</h3> + + <p>Mr. Strickland has justly observed that this subject + "belongs rather to human history than to pure zoology." Though + I have not seen Mr. Strickland's book, I venture to offer him a + few suggestions, not as <i>answers</i> to his questions, but as + slight aids towards the resolution of some of them.</p> + + <p>Qu. 1. There can be no doubt about the discovery of + Mauritius and Bourbon by the Portuguese; and if not by a + Mascarhenas, that the islands were first so named in honour of + some member of that illustrious family, many of whom make a + conspicuous figure in the Decads of the Portuguese Livy. I + expected to have found some notice of the discovery in the very + curious little volume of Antonio Galvaõ, printed in + 1563, under the following title:—<i>Tratado dos + Descobrimentos Antigos, e Modernos feitos até a Era de + 1550</i>; but I merely find a vague notice of several nameless + islands—"alguma Ilheta sem gente: onde diz que + tomaraõ agoa e lenha"—and that, in 1517, Jorge + Mascarenhas was despatched by sea to the coast of China. This + is the more provoking, as, in general, Galvaõ is very + circumstantial about the discoveries of his countrymen.</p> + + <p>Qu. 5. The article in Ree's <i>Cyclopædia</i> is a + pretty specimen of the manner in which such things are + sometimes concocted, as the following extracts will + show:—</p> + + <blockquote> + <p>"Of <i>Bats</i> they have as big as Hennes about Java + and the neighbor islands. Clusius bought one of the + Hollanders, which they brought from the Island of Swannes + (Ilha do Cisne), newly styled by them Maurice Island. It + was about a foot from head to taile, above a foot about; + the wings one and twenty inches long, nine broad; the claw, + whereby it hung on the trees, was two inches," &c. + "Here also they found a Fowle, which they called + Walgh-vogel, of the bigness of a Swanne, and most deformed + shape." (<i>Purchas his Pilgrimage</i>, 1616, p. 642.)</p> + </blockquote> + + <p>And afterward, speaking of the island of Madura, he + says,—</p> + + <blockquote> + <p>"In these partes are Battes as big as Hennes, which the + people roast and eat."</p> + </blockquote> + + <p>In the <i>Lettres édifiantes</i> (edit. 1781, t. + xiii. p. 302.) is a letter from Père Brown to Madame de + Benamont concerning the Isle of Bourbon, which he calls + "<i>l'Isle de Mascarin</i>" erroneously saying it was + discovered by the Dutch about sixty years since. (The letter is + supposed to have been written about the commencement of the + eighteenth century.) He then relates how it was peopled by + French fugitives from Madagascar, when the massacre there took + place on account of the conduct of the <i>French</i> king and + his court. In describing its production, he says,—</p> + + <blockquote> + <p>"Vers l'est de cette Isle il y a une petite plaine au + haut d'une montagne, qu'on appelle la Plaine des + <i>Caffres</i>, où l'on trouve un gros <i>oiseau + bleu</i>, dont la couleur est fort éclatante. Il + ressemble à un pigeon ramier; il vole rarement, et + toujours en rasant la terre, mais il marche avec une + vitesse surprenante; les habitans ne lui ont point encore + donné d'autre nom que celui <i>d'oiseau bleu</i>; sa + chair est assez bonne et se conserve longtemps."</p> + </blockquote> + + <p>Not a word, however, about the <i>Dodo</i>, which had it + then existed there, would certainly have been noticed by the + observant Jesuit. But now for the <i>bat</i>:—</p> + + <blockquote> + <p>"La <i>chauve-souris</i> est ici de la grosseur d'une + poule. Cet <i>oiseau</i> ne vit que de fruits et de grains, + et c'est un mets fort commun dans le pays. J'avois de la + répugnance à suivre l'exemple de ceux qui en + mangeoient; mais en ayant goûté par surprise, + j'en trouvai la chair fort délicate. On peut dire + que cet <i>animal</i>, qu'on abhorre naturellement, n'a + rien de mauvais que la figure."</p> + </blockquote> + + <p>The Italics are mine; but they serve to show how the + confusion has arisen. The writer speaks of the almost entire + extinction of the land Turtles, which were formerly abundant; + and says, that the island was well stocked with goats and wild + hogs, but for some time they had retreated to the mountains, + where no one dared venture to wage war upon them.</p> + + <p>Again, in the <i>Voyage de l'Arabie Heureuse par + l'Océan Oriental et le Détroit de la Mer rouge, + dans les Années 1708-10</i> (Paris, 1716, 12mo.), the + vessels visit both Mauritius and Bourbon, and some account of + the then state of both islands is given. At the Mauritius, one + of the captains relates that, foraging for + provisions,—</p> + + <blockquote> + <p>"Toute notre chasse se borna à quelques pigeons + rougeâtres, que nous tuâmes, et qui se laissent + tellement approcher, qu'on peut les assommer à coup + de pierres. Je tuai aussi deux <i>chauve-souris</i> d'une + espèce particulière, <i>de couleur + violette</i>, avec de petites taches jaunes, ayant une + espèce de crampon aux ailes, par où cet + <i>oiseau</i> se pend aux branches des arbres, et <i>un bec + de perroquet</i>. Les Hollandois disent qu'elles sont + bonnes à manger; et qu'en certaine saison, elles + valent bien nos bécasses."</p> + </blockquote> + + <p>At Bourbon, he says,—</p> + + <div class="poem"> + <div class="stanza"> + <p>"On y voit grandes nombres <i>d'oiseau bleu</i> qui + se</p> + + <p>nichent dans les herbes et dans les + fougères."</p> + </div> + </div> + + <p>This was in the year 1710. There were then, he says, not + more than forty Dutch settlers on the Island of Mauritius, and + they were daily hoping and expecting to be transferred to + Batavia. As editor (La Roque) subjoins a relation furnished on + the authority of M. de Vilers, who had been governor there for + the India Company, in which it is + said,—</p><span class="pagenum"><a name="page354" + id="page354"></a>{354}</span> + + <blockquote> + <p>"The island was uninhabited when the Portuguese, after + having doubled the Cape of Good Hope, discovered it. They + gave it the name of Mascarhenas, <i>à cause que leur + chef se nommoit ainsi</i>; and the vulgar still preserve + it, calling the inhabitants <i>Mascarins</i>. It was not + decidedly inhabited until 1654, when M. de Flacour, + commandant at Madagascar, sent some invalids there to + recover their health, that others followed; and since then + it has been named the Isle of Bourbon."</p> + </blockquote> + + <p>Still no notice of the <i>Dodo!</i> but</p> + + <blockquote> + <p>"On y trouve des oiseaux appelez <i>Flamans</i>, qui + excedent la hauteur d'un grand homme."</p> + </blockquote> + + <p>Qu. 6. I know not whether Mr. S. is aware that there is the + head of a Dodo in the Royal Museum of Natural History at + Copenhagen, which came from the collection of Paludanus? M. + Domeny de Rienzi, the compiler of <i>Océanie, ou + cinquième Partie du Globe</i> (1838, t. iii. p. 384.), + tells us, that a Javanese captain gave him part of a + <i>Dronte</i>, which he unfortunately lost on being + shipwrecked; but he forgot where he said he obtained it.</p> + + <p>Qu. 7. <i>Dodo</i> is most probably the name given at first + to the bird by the Portuguese; <i>Doudo</i>, in that language, + being a fool or <i>lumpish</i> stupid person. And, besides that + name, it bore that of <i>Tölpel</i> in German, which has + the same signification. The <i>Dod-aers</i> of the Dutch is + most probably a vulgar epithet of the Dutch sailors, expressive + of its <i>lumpish</i> conformation and inactivity. Our sailors + would possibly have substituted heavy-a——. I find + the Dodo was also called the <i>Monk-swan</i> of St. Maurice's + Island at the commencement of last century. The word + <i>Dronte</i> is apparently neither Portugese nor Spanish, + though in Connelly's <i>Dictionary</i> of the latter language + we have—</p> + + <blockquote> + <p>"<i>Dronte</i>, cierto páxaro de Indias de alas + muy cortas—an appellation given by some to the + Dodo."</p> + </blockquote> + + <p>It seems to me to be connected with <i>Drone</i>; but this + can only be ascertained from the period and the people by whom + it was applied.</p> + + <p>That the bird once existed there can be no doubt, from the + notice of Sir Hamon L'Estrange, which there is no reason for + questioning; and there seems to be as little reason to suppose + that Tradescant's stuffed specimen was a fabrication. He used + to preserve his own specimens; and there could be no motive at + that period for a fabrication. I had hoped to have found some + notice of it in the <i>Diary</i> of that worthy virtuoso + Zacharias Conrad von Uffenbach, who visited the Ashmolean + Museum in 1710; but though he notices other natural + curiosities, there is no mention of it. This worthy remarks on + the slovenly condition and inadequate superintendence of our + museums, and especially of that of Gresham College; but those + who recollect the state of our great national museum forty + years since will not be surprised at this, or at the calamitous + destruction of Tradescant's specimen of the Dodo. That the bird + was extinct above 150 years ago I think we may conclude from + the notices I have extracted from La Roque, and the letter of + the Jesuit Brown. Mr. Strickland has done good service to the + cause of natural science by his monograph of this very curious + subject; and to him every particle of information must be + acceptable: this must be my excuse for the almost nothing I + have been able to contribute.</p> + + <p class="author">S.W. SINGER.</p> + + <p>March 26. 1850.</p> + <hr /> + + <h3>THE WATCHING OF THE SEPULCHRE.</h3> + + <p>Inquired about by "T.W." (No. 20. p. 318.), is a liturgical + practice, which long was, and still is, observed in Holy Week. + On Maundy Thursday, several particles of the Blessed Eucharist, + consecrated at the Mass sung that day, were reserved—a + larger one for the celebrating priest on the morrow, Good + Friday; the smaller ones for the viaticum of the dying, should + need be, and carried in solemn procession all round the church, + from the high altar to a temporary erection, fitted up like a + tomb, with lights, and the figure of an angel watching by, on + the north side of the chancel. Therein the Eucharist was kept + till Easter Sunday morning, according to the Salisbury Ritual; + and there were people kneeling and praying at this so-called + sepulchre all the time, both night and day. To take care of the + church, left open throughout this period, and to look after the + lights, it was necessary for the sacristan to have other men to + help him; and what was given to them for this service is put + down in the church-wardens' books as money for "watching the + sepulchre." By the Roman Ritual, this ceremony lasts only from + Maundy Thursday till Good Friday. This rite will be duly + followed in my own little church here at Buckland, where some + of my flock, two and two, in stated succession, all through the + night, as well as day, will be watching from just after Mass on + Maundy Thursday till next morning's service. In some of the + large Catholic churches in London and the provinces, this + ceremony is observed with great splendour.</p> + + <p class="author">DANIEL ROCK.</p> + + <p>Buckland, Farringdon.</p> + + <p><i>Watching the Sepulchre.</i>—If no one sends a more + satisfactory reply to the query about "Watching the Sepulchre," + the following extract from Parker's <i>Glossary of + Architecture</i> (3rd edit. p. 197.) will throw some light on + the matter:—</p> + + <blockquote> + <p>"In many churches we find a large flat arch in the north + wall of the chancel near the alter, which was called the + Holy Sepulchre; and was used at Easter for the performance + of solemn rites commemorative of the resurrection of our + Lord. On this occasion there was usually a temporary wooden + erection over the arch; but, occasionally, the whole was of + stone, and very richly ornamented. There are fine specimens + at Navenby and Heckington churches, Lincolnshire, and + <span class="pagenum"><a name="page355" + id="page355"></a>{355}</span> Hawton church, Notts. All + these in the decorated style of the fourteenth century; + and are of great magnificence, especially the last."</p> + </blockquote> + + <p>To this account of the sepulchre I may add, that one + principal part of the solemn rites referred to above consisted + in depositing a consecrated wafer or, as at Durham Cathedral, a + crucifix within its recess—a symbol of the entombment of + our blessed Lord—and removing it with great pomp, + accompanied sometimes with a mimetic representation of the + visit of the Marys to the tomb, on the morning of Easter + Sunday. This is a subject capable of copious illustration, for + which, some time since, I collected some materials (which are + quite at your service); but, as your space is valuable, I will + only remark, that the "Watching the Sepulchre" was probably in + imitation of the watch kept by the Roman soldiers round the + tomb of Our Lord, and with the view of preserving the host from + any casualty.</p> + + <p>At Rome, the ceremony is anticipated, the wafer being + carried in procession, on the Thursday in Passion Week, from + the Sistine to the Paoline Chapel, and brought back again on + the Friday; thus missing the whole intention of the rite. Dr. + Baggs, in his <i>Ceremonies of Holy Week at Rome</i>, says (p. + 65.):—</p> + + <blockquote> + <p>"When the pope reaches the altar (of the Capella + Paolina), the first cardinal deacon receives from his hands + the blessed sacrament, and, preceded by torches, carries it + to the upper part of the <i>macchina</i>; M. Sagrista + places it within the urn commonly called the sepulchre, + where it is incensed by the Pope.... M. Sagrista then shuts + the sepulchre, and delivers the key to the Card. + Penitentiary, who is to officiate on the following + day."</p> + </blockquote> + + <p class="author">E.V.</p> + <hr /> + + <h3>POEM BY SIR EDWARD DYER.</h3> + + <p><i>Dr. Rimbault's 4th Qu.</i> (No. 19. p. 302.).—"My + mind to me a kingdom is" will be found to be of much earlier + date than Nicholas Breton. Percy partly printed it from William + Byrds's <i>Psalmes, Sonets, and Songs of Sadnes</i> (no date, + but 1588 according to Ames), with some additions and + <i>improvements (?)</i> from a B.L. copy in the Pepysian + collection. I have met with it in some early poetical + miscellany—perhaps Tottel, or <i>England's + Helicon</i>—but cannot just now refer to either.</p> + + <p>The following copy is from a cotemporary MS. containing many + of the poems of Sir Edward Dyer, Edward Earl of Oxford, and + their cotemporaries, several of which have never been + published. The collection appears to have been made by Robert + Mills, of Cambridge. Dr. Rimbault will, no doubt, be glad to + compare this text with Breton's. It is, at least, much more + genuine than the <i>composite</i> one given by Bishop + Percy.</p> + + <div class="poem"> + <div class="stanza"> + <p>"My mynde to me a kyngdome is,</p> + + <p class="i2">Suche preasente joyes therin I fynde,</p> + + <p>That it excells all other blisse,</p> + + <p class="i2">That earth affordes or growes by + kynde;</p> + + <p>Thoughe muche I wante which moste would have,</p> + + <p>Yet still my mynde forbiddes to crave.</p> + </div> + + <div class="stanza"> + <p>"No princely pompe, no wealthy store,</p> + + <p class="i2">No force to winne the victorye,</p> + + <p>No wilye witt to salve a sore,</p> + + <p class="i2">No shape to feade a loving eye;</p> + + <p>To none of these I yielde as thrall,</p> + + <p>For why? my mynde dothe serve for all.</p> + </div> + + <div class="stanza"> + <p>"I see howe plenty suffers ofte,</p> + + <p class="i2">And hasty clymers sone do fall,</p> + + <p>I see that those which are alofte</p> + + <p class="i2">Mishapp dothe threaten moste of all;</p> + + <p>They get with toyle, they keepe with feare,</p> + + <p>Suche cares my mynde coulde never beare.</p> + </div> + + <div class="stanza"> + <p>"Content to live, this is my staye,</p> + + <p class="i2">I seeke no more than maye suffyse,</p> + + <p>I presse to beare no haughty swaye;</p> + + <p class="i2">Look what I lack, my mynde supplies;</p> + + <p>Lo, thus I triumph like a kynge,</p> + + <p>Content with that my mynde doth bringe.</p> + </div> + + <div class="stanza"> + <p>"Some have too muche, yet still do crave,</p> + + <p class="i2">I little have and seek no more,</p> + + <p>They are but poore, though muche they have,</p> + + <p class="i2">And I am ryche with lyttle store;</p> + + <p>They poore, I ryche, they begge, I gyve,</p> + + <p>They lacke, I leave, they pyne, I lyve.</p> + </div> + + <div class="stanza"> + <p>"I laughe not at another's losse,</p> + + <p class="i2">I grudge not at another's payne;</p> + + <p>No worldly wants my mynde can toss,</p> + + <p class="i2">My state at one dothe still remayne:</p> + + <p>I feare no foe, I fawn no friende,</p> + + <p>I lothe not lyfe nor dreade my ende.</p> + </div> + + <div class="stanza"> + <p>"Some weighe their pleasure by theyre luste,</p> + + <p class="i2">Theyre wisdom by theyre rage of wyll,</p> + + <p>Theyre treasure is theyre onlye truste,</p> + + <p class="i2">A cloked crafte theyre store of + skylle:</p> + + <p>But all the pleasure that I fynde</p> + + <p>Is to mayntayne a quiet mynde.</p> + </div> + + <div class="stanza"> + <p>"My wealthe is healthe and perfect ease,</p> + + <p class="i2">My conscience cleere my chiefe + defence,</p> + + <p>I neither seek by brybes to please,</p> + + <p class="i2">Nor by deceyte to breede offence;</p> + + <p>Thus do I lyve, thus will I dye,</p> + + <p>Would all did so as well as I.</p> + </div> + + <div class="stanza"> + <p class="i2">"FINIS. [Symbol: CROWN] E. DIER."</p> + </div> + </div> + + <p class="author">S.W.S.</p> + <hr /> + + <h3>ROBERT CROWLEY.</h3> + + <p>"Be pleased to observe," says Herbert, "that, though 'The + Supper of the Lorde' and 'The Vision of Piers Plowman' are + inserted among the rest of his writings, he wrote only the + prefixes to them" (vol. ii. p. 278.). Farther on he gives the + title of the book, and adds, "Though this treatise is + anonymous, Will. Tindall is allowed to have been the author; + Crowley wrote only the preface." It was originally printed at + Nornberg, and dated as above [the same date as that given by + "C.H.," No. 21. p. 332.]. "Bearing no printer's name, nor date + of printing, I have placed it to Crowley, being a printer, as + having the justest claim to it" (p. 762.). + <span class="pagenum"><a name="page356" + id="page356"></a>{356}</span> There is a copy in the Lambeth + Library, No. 553. p. 249. in my "List," of which I have said + (on what grounds I do not now know), "This must be a + different edition from that noticed by Herbert (ii. 762.) + and Dibdin (iv. 334. No. 2427.)." I have not Dibdin's work + at hand to refer to, but as I see nothing in Herbert on + which I could ground such a statement, I suppose that + something may be found in Dibdin's account; though probably + it may be only my mistake or his. As to foreign editions, I + always feel very suspicious of their existence; and though I + do not remember this book in particular, or know why I + supposed it to differ from the edition ascribed to Crowley, + yet I feel pretty confident that it bore no mark of + "Nornberg." According to my description it had four pairs of + [Symbol: pointing hands] on the title, and contained E iv., + in eights, which should be thirty <i>six</i> leaves.</p> + + <p class="author">S.R. MAITLAND.</p> + <hr /> + + <h3>REPLIES TO MINOR QUERIES.</h3> + + <p><i>John Ross Mackay</i> (No. 8. p. 125.).—In reply to + the Query of your correspondent "D.," I beg to forward the + following quotation from Sir N.W. Wraxall's <i>Historical + Memoirs of his Own Time</i>, 3rd edition. Speaking of the peace + of Fontainbleau, he says,—</p> + + <blockquote> + <p>"John Ross Mackay, who had been private secretary to the + Earl of Bute, and afterwards during seventeen years was + treasurer of the ordnance, a man with whom I was personally + acquainted, frequently avowed the fact. He lived to a very + advanced age, sat in several parliaments, and only died, I + believe in 1796. A gentleman of high professional rank, and + of unimpeached veracity, who is still alive, told me, that + dining at the late Earl of Besborough's, in Cavendish + Square, in the year 1790, where only four persons were + present, including himself, Ross Mackay, who was one of the + number, gave them the most ample information upon the + subject. Lord Besborough having called after dinner for a + bottle of champagne, a wine to which Mackay was partial, + and the conversation turning on the means of governing the + House of Commons, Mackay said, that, 'money formed, after + all, the only effectual and certain method.' 'The peace of + 1763,' continued he, 'was carried through and approved by a + pecuniary distribution. Nothing else could have surmounted + the difficulty. I was myself the channel through which the + money passed. With my own hand I secured above one hundred + and twenty votes on that most important question to + ministers. Eighty thousand pounds were set apart for the + purpose. Forty members of the House of Commons received + from me a thousand pounds each. To eighty others, I paid + five hundred pounds apiece.'"</p> + </blockquote> + + <p class="author">DAVID STEWARD.</p> + + <p>Godalming, March 19. 1850.</p> + + <p><i>Shipster</i>.—<i>Gourders</i>.—As no + satisfactory elucidation of the question propounded by Mr. Fox + (No. 14. p. 216.) has been suggested, and I think he will + scarcely accept the conjecture of "F.C.B.," however ingenious + (No. 21. p. 339.), I am tempted to offer a note on the business + or calling of a shipster. It had, I believe, no connection with + nautical concerns; it did not designate a skipper (in the Dutch + use of the word) of the fair sex. That rare volume, Caxton's + <i>Boke for Travellers</i>, a treasury of archaisms, supplies + the best definition of her calling:—"Mabyll the shepster + cheuissheth her right well; she maketh surplys, shertes, + breches, keuerchiffs, and all that may be wrought of lynnen + cloth." The French term given, as corresponding to shepster, is + "<i>cousturière.</i>" Palsgrave also, in his + <i>Èclaircissement de la Langue françoyse</i>, + gives "schepstarre, <i>lingière</i>:—sheres for + shepsters, <i>forces</i>." If further evidence were requisite, + old Elyot might be cited, who renders both <i>sarcinatrix</i> + and <i>sutatis</i> (? <i>sutatrix</i>) as "a shepster, a + seamester." The term may probably be derived from her skill in + shaping or cutting out the various garments of which Caxton + gives so quaint an inventory. Her vocation was the very same as + that of the <i>tailleuse</i> of present times—the + <i>Schneiderinn</i>, she-cutter, of Germany. Palsgrave likewise + gives this use of the verb "to shape," expressed in French by + "<i>tailler</i>." He says, "He is a good tayloure, and + <i>shapeth</i> a garment as well as any man." It is singular + that Nares should have overlooked this obsolete term; and Mr. + Halliwell, in his useful <i>Glossarial Collections</i>, seems + misled by some similarity of sound, having noticed, perhaps, in + Palsgrave, only the second occurrence of the word as before + cited, "sheres for shepsters." He gives that author as + authority for the explanation "shepster, a sheep-shearer" + (<i>Dict. of Archaic Words</i>, in v.). It has been shown, + however, I believe, to have no more concern with a sheep than a + ship.</p> + + <p>The value of your periodical in eliciting the explanation of + crabbed archaisms is highly to be commended. Shall I anticipate + Mr. Bolton Corney, or some other of your acute glossarial + correspondents, if I offer another suggestion, in reply to + "C.H." (No. 21. p. 335.), regarding "gourders of raine?" I have + never met with the word in this form; but Gouldman gives "a + gord of water which cometh by rain, <i>aquilegium</i>." Guort, + gorz, or gort, in Domesday, are interpreted by Kelham as "a + wear"; and in old French, <i>gort</i> or <i>gorz</i> signifies + "<i>flot, gorgées, quantité</i>" (Roquefort). All + these words, as well as the Low Latin <i>gordus</i> (Ducange), + are doubtless to be deduced, with <i>gurges, a gyrando</i>.</p> + + <p class="author">ALBERT WAY.</p> + + <p><i>Rococo</i> (No. 20. p. 321.).—The <i>history</i> of + this word appears to be involved in uncertainty. Some French + authorities derive it from "<i>rocaille</i>," rock-work, + pebbles for a grotto, &c.; others from "<i>Rocco</i>," an + architect (whose existence, however, I cannot trace), the + author, it is to be supposed, + <span class="pagenum"><a name="page357" + id="page357"></a>{357}</span> of the antiquated, + unfashionable, and false style which the word "Rococo" is + employed to designate. The <i>use</i> of the word is said to + have first arisen in France towards the end of the reign of + Louis XV. or the beginning of that of Louis XVI., and it is + now employed in the above senses, not only in architecture, + but in literature, fashion, and the arts generally.</p> + + <p class="author">J.M.</p> + + <p>Oxford, March 18.</p> + + <p><i>Rococo</i>.—This is one of those cant words, of no + very definite, and of merely conventional, meaning, for any + thing said or done in ignorance of the true propriety of the + matter in question. "<i>C'est du rococo</i>," it is mere stuff, + or nonsense, or rather twaddle. It was born on the stage, about + ten years ago, at one of the minor theatres at Paris, though + probably borrowed from a wine-shop, and most likely will have + as brief an existence as our own late "flare-up," and such + ephemeral colloquialisms, or rather vulgarisms, that tickle the + public fancy for a day, till pushed from their stool by + another.</p> + + <p class="author">X.</p> + + <p>March 18. 1850.</p> + + <p><i>God tempers the Wind, &c.</i>—The French + proverb, "A brebis tondue Dieu mesure le vent" (God tempers the + wind to the shorn lamb), will be found in Quitard's + <i>Dictionnaire étymologique, historique et anecdotique, + des Proverbes, et des Locutions proverbiales de la Langue + française</i>, 8vo. Paris, 1842. Mons. Quitard adds the + following explanation of the proverb:—"Dieu proportionne + à nos forces les afflictions qu'il nous envoie." I have + also found this proverb in Furetière's <i>Dictionnaire + universal de tous les Mots français</i>, &c. 4 vols. + folio, La Haye, 1727.</p> + + <p class="author">J.M.</p> + + <p>Oxford. March 18.</p> + + <p>The proverb, "A brebis pres tondue, Dieu luy mesure le + vent," is to be found in Jan. Gruter. <i>Florileg. + Ethico-polit. part. alt. proverb. gallic.</i>, p. 353. 8vo. + Francof. 1611.</p> + + <p class="author">M.</p> + + <p>Oxford.</p> + + <p><i>Guildhalls</i> (No. 20. p. 320)—These were + anciently the halls, or places of meeting, of Guilds, or + communities formed for secular or religious purposes, none of + which could be legally set up without the King's licence. Trade + companies were founded, and still exist, in various parts of + the kingdom, as "Gilda Mercatorum;" and there is little doubt + that this was the origin of the municipal or governing + corporate bodies in cities and towns whose "Guildhalls" still + remain—"gildated" and "incorporated" were synonymous + terms.</p> + + <p>In many places, at one time of considerable importance, + where Guilds were established, though the latter have vanished, + the name of their Halls has survived.</p> + + <p>Your correspondent "A SUBSCRIBER AB INITIO" is referred to + Madox, <i>Firma Burgi</i>, which will afford him much + information on the subject.</p> + + <p class="author">T.E.D.</p> + + <p>Exeter.</p> + + <p><i>Treatise of Equivocation</i>.—In reply to the + inquiry of your correspondent "J.M." (No. 17. p. 263.), I beg + to state that, as my name was mentioned in connection with the + Query, I wrote to the Rev. James Raine, the librarian of the + Durham Cathedral Library, inquiring whether <i>The Treatise of + Equivocation</i> existed in the Chapter Library. From that + gentleman I have received this morning the following + reply:—"I cannot find, in this library, the book referred + to in the 'NOTES AND QUERIES,' neither can I discover it in + that of Bishop Cosin. The Catalogue of the latter is, however, + very defective. The said publication ('NOTES AND QUERIES') + promises to be very useful." Although this information is of a + purely negative character, yet I thought it right to endeavour + to satisfy your correspondent's curiosity.</p> + + <p class="author">BERIAH BOTFIELD.</p> + + <p>Nortan Hall.</p> + + <p><i>Judas Bell</i> (No. 13. p. 195.; No. 15. p. + 235.).—The lines here quoted by "C.W.G.," from "a + singular Scotch poem," evidently mean to express or examplify + discord; and the words "to jingle <i>Judas bells</i>," refer to + "bells <i>jangled, out of tune, and harsh</i>."</p> + + <p>The Maltese at Valletta, a people singularly, and, as we + should say, morbidly, addicted to the seeming enjoyment of the + most horrid discords, on Good Friday Eve, have the custom of + <i>jangling</i> the church bells with the utmost violence, in + execration of the memory of Judas; and I have seen there a + large wooden machine (of which they have many in use), + constructed on a principle similar to that of an old-fashioned + watchman's rattle, but of far greater power in creating an + uproar, intended to be symbolical of the rattling of <i>Judas's + bones, that will not rest in his grave</i>. The Maltese, as is + well known, are a very superstitious people. The employment of + <i>Judas candles</i> would, no doubt, if properly explained, + turn out to mean to imply execration against the memory of + Judas, wherever they may be used. But in the expression + <i>Judas bell</i>, the greatest conceivable amount of + <i>discord</i> is that which is intended to be expressed.</p> + + <p class="author">ROBERT SNOW.</p> + + <p>6. Chesterfield street, Mayfair, March 23. 1850.</p> + + <p class="note">[To this we may add, that the question at + present pending between this country and Greece, so far as + regards the claim of M. Pacifico, appears, from the papers laid + before Parliament, to have had its origin in what Sir Edward + Lyon states "to have been the custom in Athens for some years, + to burn an effigy of Judas on Easter day." And from the account + of the origin of the riots by the Council of the Criminal Court + of Athens, we learn, that "it is proved by the + <span class="pagenum"><a name="page358" + id="page358"></a>{358}</span> investigation, that on March + 23, 1847, Easter Day, a report was spread in the parish of + the Church des incorporels, that the Jew, D. Pacifico, by + paying the churchwarden of the church, succeeded in + preventing the effigy of Judas from being burnt, which by + annual custom was made and burnt in that parish on Easter + Day." From another document in the same collection it seems, + that the Greek Government, out of respect to M. Charles de + Rothschild, who was at Athens in April, 1847, forbid in all + the Greek churches of the capital the burning of Judas.]</p> + + <p><i>Grummett</i> (No. 20. p. 319.).—The following use + of the word whose definition is sought by "Σ" occurs in a + description of the <i>members</i> or adjuncts of the Cinque + Port of Hastings in 1229:—</p> + + <blockquote> + <p>"Servicia inde debita domino regi xxi. naves, et in + qualibet nave xxi. homines, cum uno garcione qui dicitur + <i>gromet</i>."</p> + </blockquote> + + <p>In quoting this passage in a paper "On the Seals of the + Cinque Ports," in the <i>Sussex Archæological + Collections</i> (Vol. i. p. 16.), I applied the following + illustration:—</p> + + <blockquote> + <p>"<i>Gromet</i> seems to be a diminutive of + '<i>grome</i>', a serving-man, whence the modern groom. The + provincialism <i>grummet</i>, much used in Sussex to + designate a clumsy, awkward youth, has doubtless some + relation to this cabin-boy of the Ports' navy."</p> + </blockquote> + + <p>I ought to add, that the passage above given is to be found + in Jeake's <i>Charters of the Cinque Ports</i>.</p> + + <p class="author">MARK ANTONY LOWER.</p> + + <p>Lewes, March 18. 1850.</p> + + <p><i>Grummett</i>.—Bailey explains, "<i>Gromets</i> or + <i>Gromwells</i>, the most servile persons on ship-board," + probably, metaphorically, from "<i>Gromet</i> or + <i>Grummet</i>," "small rings," adds Bailey, "fastened with + staples on the upper side of the yard." The latter term is + still in use; the metaphorical one is, I believe, quite + obsolete.</p> + + <p class="author">C.</p> + + <p><i>Meaning of "Grummett," &c</i>.—The word is + derived from the Low Latin "<i>gromettus</i>", the original of + our "groom" (see Ducange's, <i>Gromes</i> and <i>Gromus</i>), + and answers to the old French <i>gourmète</i>, i.e. + <i>garçon</i>. In old books he is sometimes called a + "novice" or "page," and may be compared with the "apprentice" + of our marine. He was employed in waiting on the sailors, + cooking their victuals, working the pumps, scouring the decks, + and, in short, was expected to lend a hand wherever he was + wanted, except taking the helm (Clairac, <i>Commentaire du + premier Article des Rooles d'Oléron</i>); and, + consequently, is always distinguished from, and rated below, + the mariner or able-bodied seaman.</p> + + <p>The information here given is taken from Jal, + <i>Archéologie navale</i>, vol. ii. p. 238.</p> + + <p class="author">A. RICH, Jun.</p> + <hr /> + + <h3>MISCELLANIES.</h3> + + <p><i>The Duke of Monmouth</i>.—I made the following note + many years ago, and am now reminded of its existence by your + admirable periodical, which must rouse many an idler besides + myself to a rummage amongst long-neglected old papers. This + small piece of tradition indicates that the adventurous but + ill-advised duke was a man of unusual muscular power and + activity.</p> + + <blockquote> + <p>"On the 8th of July, 1685, the Duke of Monmouth was + brought a prisoner to Ringwood, and halted at an inn there. + My mother, who was a native of Ringwood, used to relate + that her grandmother was one of the spectators when the + royal prisoner came out to take horse; and that the old + lady never failed to recount, how he rejected any + assistance in mounting, though his arms were pinioned; but + placing his foot in the stirrup, sprang lightly into his + saddle, to the admiration of all observers."</p> + </blockquote> + + <p class="author">ELIJAH WARING.</p> + + <p>Dowry Parade, Clifton Hotwells, March 21. 1850.</p> + <hr /> + + <h3>TO PHILAUTUS.</h3> + + <h4>(<i>From the Latin of Buchanan</i>.)</h4> + + <div class="poem"> + <div class="stanza"> + <p>Narcissus loved himself we know,</p> + + <p>And you, perhaps, have cause to show</p> + + <p class="i4">Why you should do the same;</p> + + <p>But he was wrong: and, if I may,</p> + + <p>Philautus, I will freely say,</p> + + <p class="i4">I think you more to blame.</p> + + <p>He loved what others loved; while you</p> + + <p>Admire what other folks eschew.</p> + </div> + </div> + + <p class="author">RUFUS.</p> + <hr /> + + <p><i>Junius</i>.—Nobody can read, without being struck + with the propriety of it, that beautiful passage in the 8th + letter—"Examine your own breast, Sir William, &c. + &c. &c." A parallel passage may however be found in + <i>Bevill Higgons's Short View of English History</i> (temp. + Hen. VI.), a work written before 1700, and not published till + thirty-four years afterwards:—</p> + + <blockquote> + <p>"So weak and fallible is that admired maxim, 'Factum + valet, quot fieri non debuit,' an excuse first invented to + palliate the unfledged villainy of some men, <i>who are + ashamed to be knaves, yet have not the courage to be + honest</i>."</p> + </blockquote> + + <p>I have not quoted the whole of the passage from + <i>Junius</i>, as I consider it to be in almost every body's + hands. I am collecting some curious, and I hope valuable, + information about that work.</p> + + <p class="author">B.G.</p> + + <p><i>Arabic Numerals</i>.—Your correspondent T.S.D.'s + account of a supposed date upon the Church of St. Brelade, + Jersey, brings to my mind a circumstance that once occurred to + myself, which may, perhaps, be amusing to date-hunters. Some + years ago I visited a farm-house in the north of England, whose + owner had a taste for collecting curiosities of all sorts. Not + the least valuable of his collection was a splendidly carved + oak bedstead, which he considered of great antiquity. Its date, + plainly marked upon the panels at the bottom of the front + posts, was, he told me, 1111. On + <span class="pagenum"><a name="page359" + id="page359"></a>{359}</span> examining this astounding date + a little closely, I soon perceived that the two middle + strokes had a slight curvature, a tendency to approach the + shape of an S, which distinguished them from the two + exterior lines. The date was, in fact, 1551; yet so small + was the difference of the figures, that the mistake was + really a pardonable one.</p> + + <p>Is your correspondent "E.V." acquainted with the <i>History + of Castle Acre Priory</i>, published some years ago? If my + memory fails me not, there is a date given in that work, as + found inscribed on the plaster of the Priory wall, much more + ancient than 1445.</p> + + <p>Has the derivation of the first four Arabic numerals, and + probably of the ninth, from the ancient Egyptian hieratic and + enchorial characters, for the ordinals corresponding with those + numbers, ever been noticed by writers upon the history of + arithmetical notation? The correspondence will be obvious to + any one who refers to the table given in the 4th vol. of Sir G. + Wilkinson's <i>Ancient Egyptians</i> (3rd edit.), p. 198.</p> + + <p class="author">C.W.G.</p> + <hr /> + + <h3>BOOKS AND ODD VOLUMES</h3> + + <h4>WANTED TO PURCHASE.</h4> + + <h4>(<i>In continuation of Lists in former Nos.</i>)</h4> + + <p>McCULLOCH'S ISLES OF SCOTLAND, 4 vols. 8vo. 1824.</p> + + <p>ARNOT'S ELEMENTS OF PHYSICS.</p> + + <p>LADY MARY FOX—IDEA OF A COUNTRY HOUSE.</p> + + <h4><i>Odd Volumes.</i></h4> + + <p>MAD. DE STAEL—CONSIDERATIONS ON THE FRENCH REVOLUTION, + in 3 vols. Vol. II.</p> + + <p>WORDSWORTH'S POETICAL WORKS, in 4 vols. Vol II.</p> + + <p>JAMES' NAVAL HISTORY, in 4 vols. Vols. II. and III.</p> + + <p>YOUNG'S ANNALS OF AGRICULTURE, Fortieth and Five remaining + volumes.</p> + <hr /> + + <h3>NOTICES TO CORRESPONDENTS.</h3> + + <p>We are compelled to omit our usual <i>Notes on Books</i>, + &c., as well as many interesting communications.</p> + + <p>NOTES AND QUERIES may be procured by the Trade at noon on + Friday: so that our country Subscribers ought to experience no + difficulty in receiving it regularly. Many of the country + Booksellers are probably not yet aware of this arrangement, + which enables them to receive Copies in their Saturday + parcels.</p> + + <p>T.I. (Lincoln's Inn.) We fear there are mechanical + difficulties (besides others) to prevent our adopting the + suggestion of our Correspondent.</p> + <hr class="adverts" /> + + <h3>LONDON LIBRARY, 12. ST. JAMES'S SQUARE.</h3> + + <h4>PATRON—His Royal Highness PRINCE ALBERT.</h4> + + <p>This institution, originating in the want, so long felt, of + a large and comprehensive Lending Library in the Metropolis, to + which Subscribers might resort for books of a superior class to + those supplied by the Circulating Libraries, now offers to its + members a collection of upwards of FIFTY THOUSAND volumes, to + which additions are constantly making, including almost every + new work of interest and importance, either in English or + Foreign Literature. Price of the large Catalogue already + published, 5<i>s.</i></p> + + <p>Terms of Admission:—Entrance Free, 6<i>l.</i>; Annual + Subscription, 2<i>l.</i>; or Entrance Fee and Life + Subscription, 26<i>l.</i></p> + + <p>The Library is open every day except Sunday, from eleven to + six o'clock.</p> + + <p>By order of the Committee,</p> + + <p class="author">J.G. COCHRANE, Secretary and Librarian.</p> + + <p>March 9th, 1850.</p> + <hr /> + + <h3>THE QUARTERLY REVIEW,</h3> + + <h4>No. CLXXII. is Published THIS DAY.</h4> + + <p>CONTENTS:</p> + + <div class="poem"> + <div class="stanza"> + <p>I. GIACOMO LEOPARDI AND HIS WRITINGS.</p> + + <p>II. RANKE'S HOUSE OF BRANDENBURG.</p> + + <p>III. QUEEN'S COLLEGE, LONDON.</p> + + <p>IV. GROTE'S HISTORY OF GREECE.</p> + + <p>V. URQUHART'S PILLARS OF HERCULES.</p> + + <p>VI. FACTS IN FIGURES.</p> + + <p>VII. THE DUTIFUL SON.</p> + + <p>VIII. CUNNINGHAM'S HANDBOOK OF LONDON.</p> + + <p>IX. BAXTER'S IMPRESSIONS OF EUROPE.</p> + + <p>X. LORD LIEUTENANT CLARENDON.</p> + + <p>XI. LOUIS PHILIPPE.</p> + </div> + </div> + + <p class="author">JOHN MURRAY, Albermarle Street.</p> + <hr /> + + <p>ARCHÆOLOGIA CAMBRENSIS, a RECORD of the ANTIQUITIES of + WALES and its MARCHES, and the Journal of "THE CAMBRIAN + ARCHÆOLOGICAL ASSOCIATION," published Quarterly. Price + 2<i>s.</i> 6<i>d.</i> No. 11. New Series, will be published on + the 1st. of April, containing Papers by J.O. Westwood, Rev. J. + Williams, W.W. Ffoulkes, E.A. Freeman (Architecture of Llandaff + Cathedral), &c., &c., with Illustrations by Jewitt.</p> + + <p>Also, now completed, price 11<i>s.</i> cloth lettered, Vol. + IV., First Series, for 1849. Vols. II. and III. may still be + had, price 11<i>s.</i> each, with numerous Illustrations on + copper and wood.</p> + + <p>On the 15th of April will be published, reprinted from the + ARCHÆOLOGIA CAMBRENSIS,</p> + + <p>NOTES on the Architectural Antiquities of the District of + Gower, in Glamorganshire. With Illustrations on Copper. By E.A. + FREEMAN, M.A., late Fellow of Trinity College, Oxford, Author + of the "History of Architecture," price 2<i>s.</i></p> + + <p>OBSERVATIONS on the Stone of St. Cadfan, at Towyn. With an + Illustration. By J.O. WESTWOOD, Esq., F.S.A., F.L.S., and the + Rev. J. WILLIAMS, (ab Ithel), price 1<i>s.</i></p> + + <p>DRUIDIC STONES. By the Rev. J. WILLIAMS. Price + 1<i>s.</i></p> + + <p>The Subscription to the Cambrian Archæological + Association is 1<i>l.</i> annually, for which Members will have + forwarded to them the Journal as published, quarterly, and in + addition, an Annual Volume of important antiquarian matter, and + a Ticket of Admission to the General Meeting.</p> + + <p>London: W. PICKERING. Tenby: R. MASON.</p> + <hr /> + + <p>THE ATTENTION of Readers of the NOTES AND QUERIES is + respectfully called to Part II. for 1850 of JOHN RUSSELL + SMITH'S CATALOGUE of BOOKS, containing 1250 articles, of an old + and curious kind, marked at very low prices. It may be had + <i>gratis</i> on application, or sent by post on receipt of two + postage labels to frank it. Part III. will be published April + 13th, and will contain entirely Old Books and Autographs.</p> + + <p>4. Old Compton Street, Soho, London.</p> + <hr /> + + <p>Published every Saturday, price 3<i>d.</i>, or stamped, + 4<i>d.</i>, also in Monthly Parts. Part V. (for March), price + 1<i>s.</i> 3<i>d.</i>, now ready.</p> + + <p>NOTES AND QUERIES: a Medium of Inter-communication for + Literary Men, Artists, Antiquaries, Genealogists, &c.</p> + + <p>The attention of Publishers and Booksellers is particularly + requested to this Periodical as a medium for advertising. It + contains communications from the most eminent Literary Men, and + is circulated largely amongst the best class of + book-buyers.</p> + + <p>In addition to the valuable matter which will be found in + its columns, it contains notices of Book Sales, Booksellers' + Catalogues, and Lists of Books wanted to + purchase,—features which it is believed will be found + valuable to Dealers in Old Books, as well as useful to + Purchasers.</p> + + <h4>SCALE OF PRICES.</h4> + + <table summary="Prices" + align="center"> + <tr> + <td></td> + + <td align="right">£</td> + + <td align="right"><i>s.</i></td> + + <td align="right"><i>d.</i></td> + </tr> + + <tr> + <td align="left">Six lines and under</td> + + <td align="right">0</td> + + <td align="right">5</td> + + <td align="right">0</td> + </tr> + + <tr> + <td align="left">Above six lines, per line</td> + + <td align="right">0</td> + + <td align="right">0</td> + + <td align="right">6</td> + </tr> + + <tr> + <td align="left">Half a column</td> + + <td align="right">0</td> + + <td align="right">16</td> + + <td align="right">0</td> + </tr> + + <tr> + <td align="left">Column</td> + + <td align="right">1</td> + + <td align="right">10</td> + + <td align="right">0</td> + </tr> + + <tr> + <td align="left">Page</td> + + <td align="right">2</td> + + <td align="right">10</td> + + <td align="right">0</td> + </tr> + </table> + + <p>*** Advertisements much be sent by the WEDNESDAY previous to + the SATURDAY on which they are intended to appear: NOTES AND + QUERIES being issued to the Trade on FRIDAY afternoon.</p> + + <p>London: GEORGE BELL, 186. Fleet Street.</p> + <hr /> + <span class="pagenum"><a name="page360" + id="page360"></a>{360}</span> + + <h3>NEW WORKS</h3> + + <h4>To be published in APRIL and MAY.</h4> + + <p>I. Col. W. MURE'S CRITICAL HISTORY of the LANGUAGE and + LITERATURE of ANCIENT GREECE. 3 Vols. 8vo.</p> + + <p>II. The Rev. C. MERIVALE'S HISTORY of ROME under the EMPIRE. + Vols. I. and II. 8vo.</p> + + <p>III. MODERN STATE TRIALS REVISED and ILLUSTRATED. By W.C. + TOWNSEND, Esq. M.A. Q.C. 2 vols. 8vo.</p> + + <p>IV. Mr. S. LAING'S OBSERVATIONS on the SOCIAL and POLITICAL + STATE of the EUROPEAN PEOPLE in 1848 and 1849. 8vo.</p> + + <p>V. ESSAYS SELECTED from CONTRIBUTIONS to the EDINBURGH + REVIEW. By HENRY ROGERS. 2 vols. 8vo.</p> + + <p>VI. JAMES MONTGOMERY'S POETICAL WORKS. Complete in One + Volume, with Portrait and Vignette. Square crown 8vo.</p> + + <p>VII. ALETHEIA; or, the Doom of Mythology: with other poems. + By WILLIAM C.M. KENT. 16mo.</p> + + <p>VIII. The STATISTICAL COMPANION for 1850. By T.C. BANFIELD + and C.R. WELD. Fcap. 8vo.</p> + + <p>IX. Mr. A.K. JOHNSTON'S NEW GEOGRAPHICAL DICTIONARY: forming + a complete General Gazetteer. 8vo.</p> + + <p>X. LOUDON'S ENCYCLOPÆDIA of GARDENING. New Edition + (1850). Corrected, &c. by Mrs. LOUDON. 8vo. with 1,000 + Woodcuts. *** Also in 10 Monthly Parts, 5<i>s.</i> each, from + May 1.</p> + + <p>XI. LOUDON'S HORTUS BRITANNICUS. New Edition (1850). + Corrected, &c. by Mrs. LOUDON and W.H. BAXTER. 8vo.</p> + + <p>XII. Sir W.J. HOOKER'S BRITISH FLORA. New Edit. (1850). + Corrected by the Author and Dr. WALKER-ARNOTT. Fcap. 8vo. + Plates.</p> + + <p>XIII. HEALTH, DISEASE, and REMEDY FAMILIARLY and PRACTICALLY + CONSIDERED in RELATION to the BLOOD. By Dr. G. MOORE. Post + 8vo.</p> + + <p>XIV. The ACTS of the APOSTLES: with Commentary, and + Practical and Devotional Suggestions. By the Rev. F.C. Cook, + M.A. Post 8vo.</p> + + <p>XV. The DOMESTIC LITURGY. By the Rev. THOMAS DALE, M.A. New + Edition, separated from 'The Family Chaplain.' 4to. 10<i>s.</i> + 6<i>d.</i></p> + + <p>XVI. The FAMILY CHAPLAIN. By the Rev. THOMAS DALE, M.A. New + Edition, separated from 'The Domestic Liturgy.' 4to. + 12<i>s.</i></p> + + <p>XVII. The EARL'S DAUGHTER. By the Author of 'Amy Herbert,' + 'Lancton Parsonage,' &c. Fcap. 8vo.</p> + + <p>XVIII. PRACTICAL HORSEMANSHIP. By HARRY HIEOVER. With two + plates—'Going like Workmen,' and 'Going like Muffs.' + Fcap. 8vo. 5<i>s.</i></p> + + <p>XIX. Mr. THOMAS TATE'S EXPERIMENTAL CHEMISTRY: or, Familiar + Introduction to the Science of Agriculture. Fcap. 8vo. with + Woodcuts.</p> + + <p>XX. Dr. COPLAND on the CAUSES, NATURE, and TREATMENT of + PALSY and APOPLEXY. Post 8vo.</p> + + <p>XXI. Sir B.C. BRODIE'S PATHOLOGICAL and SURGICAL + OBSERVATIONS on DISEASES of the JOINTS. New Edition. 8vo.</p> + + <p>XXII. Dr. REECE'S MEDICAL GUIDE. New Edition (1850), + thoroughly revised, corrected, and improved. 8vo. London: + LONGMAN, BROWN, GREEN, and LONGMANS.</p> + <hr /> + + <p>On the 1st of MAY next will be published,</p> + + <p>HISTORIC RELIQUES; a Series of Representations of ARMS, + JEWELLERY, GOLD and SILVER PLATE, FURNITURE, ARMOUR, &c. in + Royal and Noble Collections, Colleges, and Public Institutions, + &c., and which formerly belonged to Individuals Eminent in + History, drawn from the originals and etched by JOSEPH LIONEL + WILLIAMS.</p> + + <p>Relics of antiquity, in themselves most interesting and + instructive, become doubly so when they have belonged to + individuals whose deeds are chronicled in history. Who is + there, "to dell forgetfulness a prey," who does not look with + intense interest on objects connected with the "mighty victor, + mighty lord," Edward the Third, the Black Prince, Henry VIII., + the imperious Elizabeth, the ill-fated Mary of Scotland, or the + unhappy Charles I.? Not only of kings, but of their favourites, + and of the illustrious men who have shed lustre on the various + epochs of history, are the relics most instructive and + important.</p> + + <p>The aim of the present publication is to illustrate, by a + series of original Drawings, the various relics which have + historical interest, such as Armour, Dresses, Jewellery, Gold + and Silver Plate, Furniture, &c. formerly belonging to + persons celebrated in history, and which are still treasured up + in her Majesty's collections, in the museums of the nobility + and gentry, in colleges, halls, and public museums, &c.</p> + + <p>Some few of the relics of the past, having historical + associations connected with them, have been represented in + archæological works; but it is necessary to search + through many volumes to find even a limited number of them, and + the present work would embrace a great variety hitherto + unrepresented; at the same time, its peculiar feature, that + every subject would be Historical, renders it a book of great + novelty and importance. To the Historian and Antiquary the + proposed series of Illustrations recommends itself by its + character and importance; to the lover of ancient Art, for the + beauty of most of the objects represented; and its claims on + the general reader are the connexion of the Relics with the + dead whose actions are the theme of history and romance. To the + Artist these Illustrations will be of essential importance; and + to the Manufacturer of scarcely less value, as the Relics + themselves are, in most cases, either of exquisite beauty of + form or striking and characteristic style, and by furnishing + data, will enable him to carry out designs in the style + peculiar to all periods.</p> + + <p>It is proposed to publish the Work in Monthly Parts, + containing three Etchings drawn with the most scrupulous + fidelity, and illustrative Vignettes beautifully engraved on + Wood. The plates will be coloured, and the size of the Work be + imperial 8vo.; a limited number in imperial 4to.; the subjects + fully coloured, and the initial letters also.</p> + + <p>The Editor will be greatly obliged by communications + respecting Relics of Historic Interest being forwarded to 198. + Strand.</p> + + <p>Price 2<i>s.</i> 6<i>d.</i> each Part; to be completed in + Ten Parts. Office, 198. Strand.</p> + <hr class="full" /> + + <p>Printed by THOMAS CLARK SHAW, of No. 8. New Street Square, + at No. 5 New Street Square, in the Parish of St. Bride, in the + City of London; and published by GEORGE BELL, of No. 186. Fleet + Street, in the Parish of St. Dunstan in the West, in the City + of London, Publisher, at No. 186. Fleet Street + aforesaid.—Saturday, March 30. 1850.</p> + <hr class="full" /> + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Notes & Queries, No. 22., Saturday, +March 30, 1850, by Various + +*** END OF THIS PROJECT GUTENBERG EBOOK NOTES & QUERIES, NO. 22 *** + +***** This file should be named 12198-h.htm or 12198-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/2/1/9/12198/ + +Produced by Jon Ingram, Internet Library of Early Journals, William +Flis, and the Online Distributed Proofreading Team. + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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