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Curiosities of Literature, Vol. II (of 3) - Edited, With Memoir And Notes, By His Son, The Earl Of Beaconsfield
by Isaac D'Israeli
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COKE. Thou art the most vile and execrable traytor that ever lived.

RAWLEIGH. You speak indiscreetly, barbarously, and uncivilly.

COKE. I want words sufficient to express thy viperous treason.

RAWLEIGH. I think you want words indeed, for you have spoken one thing half-a-dozen times.

COKE. Thou art an odious fellow; thy name is hateful to all the realm of England for thy pride.

RAWLEIGH. It will go near to prove a measuring cast between you and me, Mr. Attorney.

COKE. Well, I will now make it appear to the world that there never lived a viler viper upon the face of the earth than thou. Thou art a monster; thou hast an English face, but a Spanish heart. Thou viper! for I thou thee, thou traitor! Have I angered you?

Rawleigh replied, what his dauntless conduct proved—"I am in no case to be angry."[348]

Coke had used the same style with the unhappy favourite of Elizabeth, the Earl of Essex. It was usual with him; the bitterness was in his own heart as much as in his words; and Lord Bacon has left among his memorandums one entitled, "Of the abuse I received of Mr. Attorney-General publicly in the Exchequer." A specimen will complete our model of his forensic oratory. Coke exclaimed—"Mr. Bacon, if you have any tooth against me, pluck it out; for it will do you more hurt than all the teeth in your head will do you good." Bacon replied—"The less you speak of your own greatness, the more I will think of it." Coke replied—"I think scorn to stand upon terms of greatness towards you, who are less than little, less than the least." Coke was exhibited on the stage for his ill usage of Rawleigh, as was suggested by Theobald in a note on Twelfth Night. This style of railing was long the privilege of the lawyers; it was revived by Judge Jeffreys; but the bench of judges in the reign of William and Anne taught a due respect even to criminals, who were not supposed to be guilty till they were convicted.

When Coke once was himself in disgrace, his high spirit sunk, without a particle of magnanimity to dignify the fall; his big words, and his "tyrannical courses," when he could no longer exult that "he was upon his wings again," sunk with him as he presented himself on his knees to the council-table. Among other assumptions, he had styled himself "Lord Chief-Justice of England," when it was declared that this title was his own invention, since he was no more than of the King's Bench. His disgrace was a thunderbolt, which overthrew the haughty lawyer to the roots. When the supersedeas was carried to him by Sir George Coppin, that gentleman was surprised, on presenting it, to see that lofty "spirit shrunk into a very narrow room, for Coke received it with dejection and tears." The writer from whose letter I have copied these words adds, O tremor et suspiria non cadunt in fortem et constantem. The same writer incloses a punning distich: the name of our lord chief-justice was in his day very provocative of the pun, both in Latin and English; Cicero, indeed, had pre-occupied the miserable trifle.

Jus condire Cocus potuit; sed condere jura Non potuit; potuit condere jura Cocus.

Six years afterwards, Coke was sent to the Tower, and then they punned against him in English. An unpublished letter of the day has this curious anecdote:—The room in which he was lodged in the Tower had formerly been a kitchen; on his entrance, the lord chief-justice read upon the door, "This room wants a Cook!" They twitched the lion in the toils which held him. Shenstone had some reason in thanking Heaven that his name was not susceptible of a pun. This time, however, Coke was "on his wings;" for when Lord Arundel was sent by the king to the prisoner, to inform him that he would be allowed "Eight of the best learned in the law to advise him for his cause," our great lawyer thanked the king, "but he knew himself to be accounted to have as much skill in the law as any man in England, and therefore needed no such help, nor feared to be judged by the law."



SECRET HISTORY OF AUTHORS WHO HAVE RUINED THEIR BOOKSELLERS.

Aulus Gellius desired to live no longer than he was able to exercise the faculty of writing; he might have decently added—and of finding readers! This would be a fatal wish for that writer who should spread the infection of weariness, without himself partaking of the epidemia. The mere act and habit of writing, without probably even a remote view of publication, has produced an agreeable delirium; and perhaps some have escaped from a gentle confinement by having cautiously concealed those voluminous reveries which remained to startle their heirs; while others again have left a whole library of manuscripts, out of the mere ardour of transcription, collecting and copying with peculiar rapture. I discovered that one of these inscribed this distich on his manuscript collection:

Plura voluminibus jungenda volumina nostris, Nec mihi scribendi terminus ullus erit:

which, not to compose better verses than our original, may be translated,

More volumes with our volumes still shall blend; And to our writing there shall be no end!

But even great authors have sometimes so much indulged in the seduction of the pen, that they appear to have found no substitute for the flow of their ink, and the delight of stamping blank paper with their hints, sketches, ideas, the shadows of their mind! Petrarch exhibits no solitary instance of this passion of the pen, "I read and I write night and day; it is my only consolation. My eyes are heavy with watching, my hand is weary with writing. On the table where I dine, and by the side of my bed, I have all the materials for writing; and when I awake in the dark, I write, although I am unable to read the next morning what I have written." Petrarch was not always in his perfect senses.

The copiousness and the multiplicity of the writings of many authors have shown that too many find a pleasure in the act of composition which they do not communicate to others. Great erudition and every-day application is the calamity of that voluminous author, who, without good sense, and, what is more rare, without that exquisite judgment, which we call good taste, is always prepared to write on any subject, but at the same time on no one reasonably. At the early period of printing, two of the most eminent printers were ruined by the volumes of one author; we have their petition to the pope to be saved from bankruptcy. Nicholas de Lyra had inveigled them to print his interminable commentary on the Bible. Their luckless star prevailed, and their warehouse groaned with eleven hundred ponderous folios, as immovable as the shelves on which they for ever reposed! We are astonished at the fertility and the size of our own writers of the seventeenth century, when the theological war of words raged, spoiling so many pages and brains. They produced folio after folio, like almanacs; and Dr. Owen and Baxter wrote more than sixty to seventy volumes, most of them of the most formidable size. The truth is, however, that it was then easier to write up to a folio, than in our days to write down to an octavo; for correction, selection, and rejection were arts as yet unpractised. They went on with their work, sharply or bluntly, like witless mowers, without stopping to whet their scythes. They were inspired by the scribbling demon of that rabbin, who, in his oriental style and mania of volume, exclaimed that were "the heavens formed of paper, and were the trees of the earth pens, and if the entire sea run ink, these only could suffice" for the monstrous genius he was about to discharge on the world. The Spanish Tostatus wrote three times as many leaves as the number of days he had lived; and of Lope de Vega it is said this calculation came rather short. We hear of another who was unhappy that his lady had produced twins, from the circumstance that hitherto he had contrived to pair his labours with her own, but that now he was a book behindhand.

I fix on four celebrated Scribleri to give their secret history; our Prynne, Gaspar Barthius, the Abbe de Marolles, and the Jesuit Theophilus Raynaud, who will all show that a book might be written on "authors whose works have ruined their booksellers."

Prynne seldom dined: every three or four hours he munched a manchet, and refreshed his exhausted spirits with ale brought to him by his servant; and when "he was put into this road of writing," as crabbed Anthony telleth, he fixed on "a long quilted cap, which came an inch over his eyes, serving as an umbrella to defend them from too much light;" and then hunger nor thirst did he experience, save that of his voluminous pages. Prynne has written a library amounting, I think, to nearly two hundred books. Our unlucky author, whose life was involved in authorship, and his happiness, no doubt, in the habitual exuberance of his pen, seems to have considered the being debarred from pen, ink, and books, during his imprisonment, as an act more barbarous than the loss of his ears.[349] The extraordinary perseverance of Prynne in this fever of the pen appears in the following title of one of his extraordinary volumes. "Comfortable Cordials against discomfortable Fears of Imprisonment; containing some Latin Verses, Sentences, and Texts of Scripture, written by Mr. Wm. Prynne, on his Chamber Walls, in the Tower of London, during his imprisonment there; translated by him into English Verse, 1641." Prynne literally verified Pope's description:

Is there, who locked from ink and paper, scrawls With desperate charcoal round his darkened walls.

We have also a catalogue of printed books, written by Wm. Prynne, Esq., of Lincoln's Inn, in these classes,

BEFORE } DURING } and } his imprisonment. SINCE }

with this motto, "Jucundi acti labores," 1643. The secret history of this voluminous author concludes with a characteristic event: a contemporary who saw Prynne in the pillory at Cheapside, informs us that while he stood there they "burnt his huge volumes under his nose, which had almost suffocated him." Yet such was the spirit of party, that a puritanic sister bequeathed a legacy to purchase all the works of Prynne for Sion College, where many still repose; for, by an odd fatality, in the fire which happened in that library these volumes were saved, from the idea that folios were the most valuable![350]

The pleasure which authors of this stamp experience is of a nature which, whenever certain unlucky circumstances combine, positively debarring them from publication, will not abate their ardour one jot; and their pen will still luxuriate in the forbidden page which even booksellers refuse to publish. Many instances might be recorded, but a very striking one is the case of Gaspar Barthius, whose "Adversaria," in two volumes folio, are in the collections of the curious.

Barthius was born to literature, for Baillet has placed him among his "Enfans Celebres." At nine years of age he recited by heart all the comedies of Terence, without missing a line. The learned admired the puerile prodigy, while the prodigy was writing books before he had a beard. He became, unquestionably, a student of very extensive literature, modern as well as ancient. Such was his devotion to a literary life, that he retreated from the busy world. It appears that his early productions were composed more carefully and judiciously than his latter ones, when the passion for voluminous writing broke out, which showed itself by the usual prognostic of this dangerous disease—extreme facility of composition, and a pride and exultation in this unhappy faculty. He studied without using collections or references, trusting to his memory, which was probably an extraordinary one, though it necessarily led him into many errors in that delicate task of animadverting on other authors. Writing a very neat hand, his first copy required no transcript; and he boasts that he rarely made a correction: everything was sent to the press in its first state. He laughs at Statius, who congratulated himself that he employed only two days in composing the epithalamium upon Stella, containing two hundred and seventy-eight hexameters. "This," says Barthius, "did not quite lay him open to Horace's censure of the man who made two hundred verses in an hour, 'stans pede in uno.' Not," adds Barthius, "but that I think the censure of Horace too hyperbolical, for I am not ignorant what it is to make a great number of verses in a short time, and in three days I translated into Latin the three first books of the Iliad, which amount to above two thousand verses." Thus rapidity and volume were the great enjoyments of this learned man's pen, and now we must look to the fruits.

Barthius, on the system he had adopted, seems to have written a whole library; a circumstance which we discover by the continual references he makes in his printed works to his manuscript productions. In the Index Authorum to his Statius, he inserts his own name, to which is appended a long list of unprinted works, which Bayle thinks, by their titles and extracts, conveys a very advantageous notion of them. All these, and many such as these, he generously offered the world, would any bookseller be intrepid or courteous enough to usher them from his press; but their cowardice or incivility was intractable. The truth is now to be revealed, and seems not to have been known to Bayle; the booksellers had been formerly so cajoled and complimented by our learned author, and had heard so much of the celebrated Barthius, that they had caught at the bait, and that the two folio volumes of the much referred-to "Adversaria" of Barthius had thus been published—but from that day no bookseller ever offered himself to publish again!

The "Adversaria" is a collection of critical notes and quotations from ancient authors, with illustrations of their manners, customs, laws, and ceremonies; all these were to be classed into one hundred and eighty books; sixty of which we possess in two volumes folio, with eleven indexes. The plan is vast, as the rapidity with which it was pursued: Bayle finely characterises it by a single stroke—"Its immensity tires even the imagination." But the truth is, this mighty labour turned out to be a complete failure: there was neither order nor judgment in these masses of learning; crude, obscure, and contradictory; such as we might expect from a man who trusted to his memory, and would not throw away his time on any correction. His contradictions are flagrant; but one of his friends would apologise for these by telling us that "He wrote everything which offered itself to his imagination; to-day one thing, to-morrow another, in order that when he should revise it again, this contrariety of opinion might induce him to examine the subject more accurately." The notions of the friends of authors are as extravagant as those of their enemies. Barthius evidently wrote so much, that often he forgot what he had written, as happened to another great book-man, one Didymus, of whom Quintilian records, that on hearing a certain history, he treated it as utterly unworthy of credit; on which the teller called for one of Didymus's own books, and showed where he might read it at full length! That the work failed, we have the evidence of Clement in his "Bibliotheque curieuse de Livres difficiles a trouver," under the article Barthius, where we discover the winding up of the history of this book. Clement mentions more than one edition of the Adversaria; but on a more careful inspection he detected that the old title-pages had been removed for others of a fresher date; the booksellers not being able to sell the book practised this deception. It availed little; they remained with their unsold edition of the two first volumes of the Adversaria, and the author with three thousand folio sheets in manuscript—while both parties complained together, and their heirs could acquire nothing from the works of an author, of whom Bayle says that "his writings rise to such a prodigious bulk, that one can scarce conceive a single man could be capable of executing so great a variety; perhaps no copying clerk, who lived to grow old amidst the dust of an office, ever transcribed as much as this author has written." This was the memorable fate of one of that race of writers who imagine that their capacity extends with their volume. Their land seems covered with fertility, but in shaking their wheat no ears fall.

Another memorable brother of this family of the Scribleri is the Abbe de Marolles, who with great ardour as a man of letters, and in the enjoyment of the leisure and opulence so necessary to carry on his pursuits, from an entire absence of judgment, closed his life with the bitter regrets of a voluminous author; and yet it cannot be denied that he has contributed one precious volume to the public stock of literature; a compliment which cannot be paid to some who have enjoyed a higher reputation than our author. He has left us his very curious "Memoirs." A poor writer indeed, but the frankness and intrepidity of his character enable him, while he is painting himself, to paint man. Gibbon was struck by the honesty of his pen, for he says in his life, "The dulness of Michael de Marolles and Anthony Wood[351] acquires some value from the faithful representation of men and manners."

I have elsewhere shortly noticed the Abbe de Marolles in the character of "a literary sinner;" but the extent of his sins never struck me so forcibly as when I observed his delinquencies counted up in chronological order in Niceron's "Hommes Illustres." It is extremely amusing to detect the swarming fecundity of his pen; from year to year, with author after author, was this translator wearying others, but remained himself unwearied. Sometimes two or three classical victims in a season were dragged into his slaughter-house. Of about seventy works, fifty were versions of the classical writers of antiquity, accompanied with notes. But some odd circumstances happened to our extraordinary translator in the course of his life. De l'Etang, a critic of that day, in his "Regles de bien traduire," drew all his examples of bad translation from our abbe, who was more angry than usual, and among his circle the cries of our Marsyas resounded. De l'Etang, who had done this not out of malice, but from urgent necessity to illustrate his principles, seemed very sorry, and was desirous of appeasing the angried translator. One day in Easter, finding the abbe in church at prayers, the critic fell on his knees by the side of the translator: it was an extraordinary moment, and a singular situation to terminate a literary quarrel. "You are angry with me," said De l'Etang, "and I think you have reason; but this is a season of mercy, and I now ask your pardon."—"In the manner," replied the abbe, "which you have chosen, I can no longer defend myself. Go, sir! I pardon you." Some days after, the abbe again meeting De l'Etang, reproached him with duping him out of a pardon, which he had no desire to have bestowed on him. The last reply of the critic was caustic: "Do not be so difficult; when one stands in need of a general pardon, one ought surely to grant a particular one." De Marolles was subject to encounter critics who were never so kind as to kneel by him on an Easter Sunday. Besides these fifty translations, of which the notes are often curious, and even the sense may be useful to consult, his love of writing produced many odd works. His volumes were richly bound, and freely distributed, but they found no readers! In a "Discours pour servir de Preface sur les Poetes, traduits par Michel de Marolles," he has given an imposing list of "illustrious persons and contemporary authors who were his friends," and has preserved many singular facts concerning them. He was indeed for so long a time convinced that he had struck off the true spirit of his fine originals, that I find he at several times printed some critical treatise to back his last, or usher in his new version; giving the world reasons why the versions which had been given of that particular author, "soit en prose, soit en vers, ont ete si pen approuvees jusqu'ici." Among these numerous translations he was the first who ventured on the Deipnosophists of Athenaeus, which still bears an excessive price. He entitles his work, "Les quinze Livres de Deipnosophists d'Athenee, Ouvrage delicieux, agreablement diversifie et rempli de Narrations, scavantes sur toutes Sortes de Matieres et de Sujets." He has prefixed various preliminary dissertations; yet, not satisfied with having performed this great labour, it was followed by a small quarto of forty pages, which might now be considered curious; "Analyse, en Description succincte des Choses contenues dans les quinzes Livres de Deipnosophistes." He wrote, "Quatrains sur les Personnes de la Cour et les Gens de Lettres," which the curious would now be glad to find. After having plundered the classical geniuses of antiquity by his barbarous style, when he had nothing more left to do, he committed sacrilege in translating the Bible; but, in the midst of printing, he was suddenly stopped by authority, for having inserted in his notes the reveries of the Pre-Adamite Isaac Peyrere. He had already revelled on the New Testament, to his version of which he had prefixed so sensible an introduction, that it was afterwards translated into Latin. Translation was the mania of the Abbe de Marolles. I doubt whether he ever fairly awoke out of the heavy dream of the felicity of his translations; for late in life I find him observing, "I have employed much time in study, and I have translated many books; considering this rather as an innocent amusement which I have chosen for my private life, than as things very necessary, although they are not entirely useless. Some have valued them, and others have cared little about them; but however it may be, I see nothing which obliges me to believe that they contain not at least as much good as bad, both for their own matter and the form which I have given to them." The notion he entertained of his translations was their closeness; he was not aware of his own spiritless style; and he imagined that poetry only consisted in the thoughts, not in grace and harmony of verse. He insisted that by giving the public his numerous translations, he was not vainly multiplying books, because he neither diminished nor increased their ideas in his faithful versions. He had a curious notion that some were more scrupulous than they ought to be respecting translations of authors who, living so many ages past, are rarely read from the difficulty of understanding them; and why should they imagine that a translation is injurious to them, or would occasion the utter neglect of the originals? "We do not think so highly of our own works," says the indefatigable and modest abbe; "but neither do I despair that they may he useful even to these scrupulous persons. I will not suppress the truth, while I am noticing these ungrateful labours; if they have given me much pain by my assiduity, they have repaid me by the fine things they have taught me, and by the opinion which I have conceived that posterity, more just than the present times, will award a more favourable judgment." Thus a miserable translator terminates his long labours, by drawing his bill of fame on posterity, which his contemporaries will not pay; but in these cases, as the bill is certainly lost before it reaches acceptance, why should we deprive the drawers of pleasing themselves with the ideal capital?

Let us not, however, imagine that the Abbe de Marolles was nothing but the man he appears in the character of a voluminous translator; though occupied all his life on these miserable labours, he was evidently an ingenious and nobly-minded man, whose days were consecrated to literary pursuits, and who was among the primitive collectors in Europe of fine and curious prints. One of his works is a "Catalogue des Livres d'Estampes et de Figures en Taille-douce." Paris, 1666, in 8vo. In the preface our author declares, that he had collected one hundred and twenty-three thousand four hundred prints, of six thousand masters, in four hundred large volumes, and one hundred and twenty small ones. This magnificent collection, formed by so much care and skill, he presented to the king; whether gratuitously given or otherwise, it was an acquisition which a monarch might have thankfully accepted. Such was the habitual ardour of our author, that afterwards he set about forming another collection, of which he has also given a catalogue in 1672, in 12mo. Both these catalogues of prints are of extreme rarity, and are yet so highly valued by the connoisseurs, that when in France I could never obtain a copy. A long life may be passed without even a sight of the "Catalogue des Livres d'Estampes" of the Abbe de Marolles.[352]

Such are the lessons drawn from this secret history of voluminous writers. We see one venting his mania in scrawling on his prison walls; another persisting in writing folios, while the booksellers, who were once caught, like Reynard who had lost his tail, and whom no arts could any longer practise on, turn away from the new trap; and a third, who can acquire no readers but by giving his books away, growing grey in scourging the sacred genius of antiquity by his meagre versions, and dying without having made up his mind, whether he were as woful a translator as some of his contemporaries had assured him.

Among these worthies of the Scribleri we may rank the Jesuit, Theophilus Raynaud, once a celebrated name, eulogised by Bayle and Patin. His collected works fill twenty folios; an edition, indeed, which finally sent the bookseller to the poor-house. This enterprising bibliopolist had heard much of the prodigious erudition of the writer; but he had not the sagacity to discover that other literary qualities were also required to make twenty folios at all saleable. Of these "Opera omnia" perhaps not a single copy can be found in England; but they may be a pennyworth on the continent. Raynaud's works are theological; but a system of grace maintained by one work and pulled down by another, has ceased to interest mankind: the literature of the divine is of a less perishable nature. Beading and writing through a life of eighty years, and giving only a quarter of an hour to his dinner, with a vigorous memory, and a whimsical taste for some singular subjects, he could not fail to accumulate a mass of knowledge which may still be useful for the curious; and besides, Raynaud had the Ritsonian characteristic. He was one of those who, exemplary in their own conduct, with a bitter zeal condemn whatever does not agree with their own notions; and, however gentle in their nature, yet will set no limits to the ferocity of their pen. Raynaud was often in trouble with the censors of his books, and much more with his adversaries; so that he frequently had recourse to publishing under a fictitious name. A remarkable evidence of this is the entire twentieth volume of his works. It consists of the numerous writings published anonymously, or to which were prefixed noms de guerre. This volume is described by the whimsical title of Apopompaeus; explained to us as the name given by the Jews to the scape-goat, which, when loaded with all their maledictions on its head, was driven away into the desert. These contain all Raynaud's numerous diatribes; for whenever he was refuted, he was always refuting; he did not spare his best friends. The title of a work against Arnauld will show how he treated his adversaries. "Arnauldus redivivus natus Brixiae seculo xii. renatus in Galliae aetate nostra." He dexterously applies the name of Arnauld by comparing him with one of the same name in the twelfth century, a scholar of Abelard's, and a turbulent enthusiast, say the Romish writers, who was burnt alive for having written against the luxury and the power of the priesthood, and for having raised a rebellion against the pope. When the learned De Launoi had successfully attacked the legends of saints, and was called the Denicheur de Saints,—the "Unnicher of Saints," every parish priest trembled for his favourite. Raynaud entitled a libel on this new iconoclast, "Hercules Commodianus Joannes Launoius repulsus," &c.; he compares Launoi to the Emperor Commodus, who, though the most cowardly of men, conceived himself formidable when he dressed himself as Hercules. Another of these maledictions is a tract against Calvinism, described as a "religio bestiarum," a religion of beasts, because the Calvinists deny free will; but as he always fired with a double-barrelled gun, under the cloak of attacking Calvinism, he aimed a deadly shot at the Thomists, and particularly at a Dominican friar, whom he considered as bad as Calvin. Raynaud exults that he had driven one of his adversaries to take flight into Scotland, ad pultes Scoticas transgressus—to a Scotch pottage; an expression which Saint Jerome used in speaking of Pelagius. He always rendered an adversary odious by coupling him with some odious name. On one of these controversial books where Casalas refuted Raynaud, Monnoye wrote, "Raynaudus et Casalas inepti; Raynaudo tamen Casalas ineptior." The usual termination of what then passed for sense, and now is the reverse!

I will not quit Raynaud without pointing out some of his more remarkable treatises, as so many curiosities of literature.

In a treatise on the attributes of Christ, he entitles a chapter, Christus, bonus, bona, bonum: in another on the seven-branched candlestick in the Jewish temple, by an allegorical interpretation, he explains the eucharist; and adds an alphabetical list of names and epithets which have been given to this mystery.

The seventh volume bears the title of Mariolia: all the treatises have for their theme the perfections and the worship of the Virgin. Many extraordinary things are here. One is a dictionary of names given to the Virgin, with observations on these names. Another on the devotion of the scapulary, and its wonderful effects, written against De Launoi, and for which the order of the Carmes, when he died, bestowed a solemn service and obsequies on him. Another of these "Mariolia" is mentioned by Gallois in the Journal des Scavans, 1667, as a proof of his fertility; having to preach on the seven solemn anthems which the Church sings before Christmas, and which begin by an O! he made this letter only the subject of his sermons, and barren as the letter appears, he has struck out "a multitude of beautiful particulars." This literary folly invites our curiosity.

In the eighth volume is a table of saints, classed by their station, condition, employment, and trades: a list of titles and prerogatives, which the councils and the fathers have attributed to the sovereign pontiff.

The thirteenth volume has a subject which seems much in the taste of the sermons on the letter O! it is entitled Laus Brevitatis! in praise of brevity. The maxims are brief, but the commentary long. One of the natural subjects treated on is that of Noses: he reviews a great number of noses, and, as usual, does not forget the Holy Virgin's. According to Raynaud, the nose of the Virgin Mary was long and aquiline, the mark of goodness and dignity; and as Jesus perfectly resembled his mother, he infers that he must have had such a nose.

A treatise entitled Heteroclita spiritualia et anomala Pietatis Caelestium, Terrestrium, et Infernorum, contains many singular practices introduced into devotion, which superstition, ignorance, and remissness, have made a part of religion.

A treatise directed against the new custom of hiring chairs in churches, and being seated during the sacrifice of the mass. Another on the Caesarean operation, which he stigmatises as an act against nature. Another on eunuchs. Another entitled Hipparchus de Religioso Negotiatore, is an attack on those of his own company; the monk turned merchant; the Jesuits were then accused of commercial traffic with the revenues of their establishment. The rector of a college at Avignon, who thought he was portrayed in this honest work, confined Raynaud in prison for five months.

The most curious work of Raynaud connected with literature, I possess; it is entitled Erotemata de malis ac bonis Libris, deque justa aut injusta eorundem confixione. Lugduni, 1653, 4to, with necessary indexes. One of his works having been condemned at Rome, he drew up these inquiries concerning good and bad books, addressed to the grand inquisitor. He divides his treatise into "bad and nocent books; bad books but not nocent; books not bad, but nocent; books neither bad nor nocent." His immense reading appears here to advantage, and his Ritsonian feature is prominent; for he asserts, that when writing against heretics all mordacity is innoxious; and an alphabetical list of abusive names, which the fathers have given to the heterodox is entitled Alphabetum bestialitatis Haeretici, ex Patrum Symbolis.

After all, Raynaud was a man of vast acquirement, with a great flow of ideas, but tasteless, and void of all judgment. An anecdote may be recorded of him, which puts in a clear light the state of these literary men. Raynaud was one day pressing hard a reluctant bookseller to publish one of his works, who replied—"Write a book like Father Barri's, and I shall be glad to print it." It happened that the work of Barri was pillaged from Raynaud, and was much liked, while the original lay on the shelf. However, this only served to provoke a fresh attack from our redoubtable hero, who vindicated his rights, and emptied his quiver on him who had been ploughing with his heifer.

Such are the writers who, enjoying all the pleasures without the pains of composition, have often apologised for their repeated productions, by declaring that they write only for their own amusement; but such private theatricals should not be brought on the public stage. One Catherinot all his life was printing a countless number of feuilles volantes in history and on antiquities, each consisting of about three or four leaves in quarto: Lenglet du Fresnoy calls him "grand auteur des petits livres." This gentleman liked to live among antiquaries and historians; but with a crooked headpiece, stuck with whims, and hard with knotty combinations, all overloaded with prodigious erudition, he could not ease it at a less rate than by an occasional dissertation of three or four quarto pages. He appears to have published about two hundred pieces of this sort, much sought after by the curious for their rarity: Brunet complains he could never discover a complete collection. But Catherinot may escape "the pains and penalties" of our voluminous writers, for De Bure thinks he generously printed them to distribute among his friends. Such endless writers, provided they do not print themselves into an alms-house, may be allowed to print themselves out; and we would accept the apology which Monsieur Catherinot has framed for himself, which I find preserved in Beyeri Memoriae Librorum Rariorum. "I must be allowed my freedom in my studies, for I substitute my writings for a game at the tennis-court, or a club at the tavern; I never counted among my honours these opuscula of mine, but merely as harmless amusements. It is my partridge, as with St. John the Evangelist; my cat, as with Pope St. Gregory; my little dog, as with St. Dominick; my lamb, as with St. Francis; my great black mastiff, as with Cornelius Agrippa; and my tame hare, as with Justus Lipsius." I have since discovered in Niceron that this Catherinot could never get a printer, and was rather compelled to study economy in his two hundred quartos of four or eight pages: his paper was of inferior quality; and when he could not get his dissertations into his prescribed number of pages, he used to promise the end at another time, which did not always happen. But his greatest anxiety was to publish and spread his works; in despair he adopted an odd expedient. Whenever Monsieur Catherinot came to Paris, he used to haunt the quaies where books are sold, and while he appeared to be looking over them, he adroitly slided one of his own dissertations among these old books. He began this mode of publication early, and continued it to his last days. He died with a perfect conviction that he had secured his immortality; and in this manner had disposed of more than one edition of his unsaleable works. Niceron has given the titles of 118 of his things, which he had looked over.

END OF VOL. II.

* * * * *

BILLING AND SONS, PRINTERS, GUILDFORD.



FOOTNOTES:

[Footnote 1: The prince and duke travelled under the assumed names of John and Thomas Smith. King James wrote a poem on this expedition, of which the first and last verses are as follow. A copy is preserved among the Rawlinson MSS., Bodleian Library:—

"What sudden change hath darked of late The glory of the Arcadian state? The fleecy flocks refuse to feed, The lambs to play, the ewes to breed; The altars smoke, the offerings burn, Till Jack and Tom do safe return.

"Kind shepherds that have loved them long, Be not too rash in censuring wrong; Correct your fears, leave off to mourn, The heavens shall favour their return! Commit the care to Royal Pan, Of Jack his son, and Tom his man."

]

[Footnote 2: In MS. Harl., 6987, is preserved Buckingham's letter to James I, describing the first interview. Speaking of the prince, he says, "Baby Charles is himself so touched at the heart, that he confesses all he ever yet saw is nothing to her, and swears, that if he want her, there shall be blows."]

[Footnote 3: Though Buckingham and Charles were exigeant of jewels for presents, the king was equally profuse in sending until he had exhausted his store. Considerably more than 150,000 l. worth were consigned to Spain. In a letter from Newmarket, March 17, 1623, preserved in Harleian MS. 6987, he enumerates a large quantity to be presented to the Infanta; and he is equally careful that Prince Charles should be well supplied; "As for thee, my sweet gossip, I send thee a fair table diamond for wearing in thy hat." The king ingeniously prompts them to present the Infanta with a small looking-glass to hang at her girdle, and to assure her that "by art magic, whensoever she shall be pleased to look in it, she shall see the fairest lady that either her brother's or your father's dominions can afford."]

[Footnote 4: On his first coming to court he was made cup-bearer to the king, then Master of the Horse, then ennobled, made Lord High Admiral, Warden of the Cinque Ports, Constable of Windsor Castle, Ranger of Royal Parks, &c. &c. A list of the public plunderings of himself and family is given in Sloane MS. 826, amounting to more than 27,000 l. per annum in rents of manors, irrespective of 50,000 l. "paid to the duke by privie seale of free guifts, but alleged to be intended for the navie." Many pensions and customs were also made over to his use.]

[Footnote 5: King James delighted in calling the Duke of Buckingham "Steenie," as has been already instanced in the letter quoted, p. 463, Vol. I. This was not the duke's Christian name, but was invented for him by his royal master, who fancied his features resembled those usually given to St. Stephen, and whose face was usually depicted in accordance with the description in Acts vi. 15, "as it had been the face of an angel."]

[Footnote 6: The great exhibition of fireworks at Rome, at the castle of St. Angelo, during the festivities of the Holy Week, preserve the character of the displays of fireworks adopted on great occasions in the seventeenth century. An enormous explosion of squibs, crackers, and rockets was the tour de force in such celebrations. The volume describing the entry of Louis XIII. to Lyons in 1624, contains an engraving of the fireworks constructed on barges in the river on that occasion; a blazing crowned sun, surrounded by a wheel of stars, squibs, star-rockets, and water-serpents flying about it, composed the feu d'artifice. In the volume descriptive of the rejoicings in the same city on the ratification of peace between France and Spain in 1660, are several engravings in which fireworks are shown, but they exhibit no novelties, being restricted to rockets and pots of fire bursting into coloured stars. Henry Van Etten's "Mathematical Recreations," 1633, notes the principal "artificial fireworks" then in use, and gives engravings of several, and instructions to make them. Rockets, fire-balls, stars, golden-rain, serpents, and Catharine wheels are the principal noted. "Fierie dragons combatant" running on lines, and filled with fireworks, were the greatest stretch of invention at this time; and our author says they may be made "to meete one another, having lights placed in the concavity of their bodies, which will give great grace to the action."]

[Footnote 7: Specimens of most of these modes of writing may be seen at the British Museum. No. 3478, in the Sloanian library, is a Nabob's letter, on a piece of bark, about two yards long, and richly ornamented with gold. No. 3207 is a book of Mexican hieroglyphics, painted on bark. In the same collection are various species, many from the Malabar coast and the East. The latter writings are chiefly on leaves. There are several copies of Bibles written on palm leaves. The ancients, doubtless, wrote on any leaves they found adapted for the purpose. Hence, the leaf of a book, alluding to that of a tree, seems to be derived. At the British Museum we have also Babylonian tiles, or broken pots, which the people used, and made their contracts of business on; a custom mentioned in the Scriptures.]

[Footnote 8: This speech was made by Claudius (who was born at Lyons), when censor, A.D. 48, and was of the highest importance to the men of Lyons, inasmuch as it led to the grant of the privileges of Roman citizenship to them. This important inscription was discovered in 1528, on the heights of St. Sebastian above the town.]

[Footnote 9: The paintings discovered at Pompeii give representations of these books and implements.]

[Footnote 10: The use of the table-book was continued to the reign of James I. or later. Shakspeare frequently alludes to them—

"And therefore will he wipe his tables clean, And keep no tell-tale to his memory."

They were in the form of a modern pocket-book, the leaves of asses' skin, or covered with a composition, upon which a silver or leaden style would inscribe memoranda capable of erasure.]

[Footnote 11: A box containing such written rolls is represented in one of the pictures exhumed at Pompeii.]

[Footnote 12: See note to Vol. I. p. 5.]

[Footnote 13: The ink of old manuscripts is generally a thick solid substance, and sometimes stands in relief upon the paper. The red ink is generally a body-colour of great brilliancy.]

[Footnote 14: This was, in fact, a realization of the traditional representations of the Flight into Egypt, in which the Virgin, having the Saviour in her lap, is always depicted seated on an ass, which is led by Joseph.]

[Footnote 15: See Article Ancient and Modern Saturnalia, in this Volume.]

[Footnote 16: In the romances and poems of the Middle Ages, the heroines are generally praised for the abundance and beauty of their "yellow hair"—

Her yellow haire was braided in a tresse Behinde her backe, a yarde longe, I guesse.

CHAUCER'S Knight's Tale.

Queen Elizabeth had yellow hair, hence it became the fashion at her court, and ladies dyed their hair of the Royal colour. But this dyeing the hair yellow may be traced to the classic era. Galen tells us that in his time women suffered much from headaches, contracted by standing bare-headed in the sun to obtain this coveted tint, which others attempted by the use of saffron. Bulwer, in his "Artificiall Changeling," 1653, says—"The Venetian women at this day, and the Paduan, and those of Verona, and other parts of Italy, practice the same vanitie, and receive the same recompense for their affectation, there being in all those cities open and manifest examples of those who have undergone a kind of martyrdome, to render their haire yellow."]

[Footnote 17: That is, carriages of the modern form, and such as became common toward the end of Elizabeth's reign; but waggons and chares, covered with tapestry, and used by ladies for journeys, may be seen in illuminated MSS. of the fourteenth century. There is a fine example in the Loutterell Psalter, published in "Vetusta Monumenta."]

[Footnote 18: The use of censers or firepans to "sweeten" houses by burning coarse perfumes is noted by Shakespeare. His commentator, Steevens, points out a passage in a letter of the Earl of Shrewsbury, who when keeping Mary Queen of Scots under his surveillance, notes "That her Majesty was to be removed for 5 or 6 dayes to clense her chamber, being kept very unclenly." That annoyances of a very disagreeable kind were constantly felt, he instances in a passage from the Memoir of Anne, Countess of Dorset, who relates that a noble party were infested with insects not now to be named, though named plainly by the lady, and all this "by sitting in Sir Thomas Erskine's chamber."]

[Footnote 19: He gives this piece of autobiography in his first sermon preached before Edward VI., 1549:—"My father was a yeoman, and had no lands of his own, only he had a farm of three or foure pound by year at the uttermost, and hereupon he tilled so much as kept half a dozen men. He had a walk for a hundred sheep, and my mother milked thirty kine. He kept me to school. He married my sisters with five pound, or twenty nobles a piece; so that he brought them up in godliness."]

[Footnote 20: Lower's "English Surnames; an Essay on Family Nomenclature," may be profitably studied in connexion with this curious subject.]

[Footnote 21: Fortunate names, the bona nomina of Cicero, were chiefly selected in accordance with the classic maxim, bonum nomen, bonum omen.]

[Footnote 22: "Plautus thought it quite enough to damn a man that he bore the name of Lyco, which is said to signify a greedy-wolf; and Livy calls the name Atrius Umber abominandi ominis nomen, a name of horrible portent."—Nares' Heraldic Anomalies.]

[Footnote 23: The names adopted by the Romans were very significant. The Nomen was indicative of the branch of the family distinguished by the Cognomen; while the Prenomen was invented to distinguish one from the rest. Thus, a man of family had three names, and even a fourth was added when it was won by great deeds.]

[Footnote 24: Edgar Poe's account of the regular mode by which he designed and executed his best and most renowned poem, "The Raven," is an instance of the use of methodical rule successfully applied to what appears to be one of the most fanciful of mental works.]

[Footnote 25: The old poet is the most fresh and powerful in his words. The passage is thus given in Wright's edition:—

The busy lark, messenger of day, Saluteth in her song the morrow gray; And fiery Phoebus riseth up so bright, That all the orient laugheth of the light.

Leigh Hunt remarks with justice that "Dryden falls short of the freshness and feeling of the sentiment. His lines are beautiful, but they do not come home to us with so happy and cordial a face."]

[Footnote 26: This use of what most persons would consider waste paper, obtained for the poet the designation of "paper-sparing Pope."]

[Footnote 27: Dr. Johnson, in noticing the MSS. of Milton, preserved at Cambridge, has made, with his usual force of language, the following observation: "Such reliques show how excellence is acquired: what we hope ever to do with ease, we may learn first to do with diligence."]

[Footnote 28: Silent in the MS. (observes a critical friend) is greatly superior to secret, as it appears in the printed work.]

[Footnote 29: The great feature of the modern stage within the last twenty years has been the Classical Burlesque Drama, which, though originating in the last century in such plays as Midas, really reached its culmination under the auspices of Madame Vestris.]

[Footnote 30: Motteux, whose translation Lord Woodhouselee distinguishes as the most curious, turns the passage thus: "I wish you well, good people: drive on to act your play, for in my very childhood I loved shows, and have been a great admirer of dramatic representations." Part II. c. xi. The other translators have nearly the same words. But in employing the generic term they lose the species, that is, the thing itself; but what is less tolerable, in the flatness of the style, they lose that delightfulness with which Cervantes conveys to us the recollected pleasures then busying the warm brain of his hero. An English reader, who often grows weary over his Quixote, appears not always sensible that one of the secret charms of Cervantes, like all great national authors, lies concealed in his idiom and style.]

[Footnote 31: The author of the descriptive letter-press to George Cruikshank's illustrations of Punch says he "saw the late Mr. Wyndham, then one of the Secretaries of State, on his way from Downing-street to the House of Commons, on the night of an important debate, pause like a truant boy until the whole performance was concluded, to enjoy a hearty laugh at the whimsicalities of the 'motley hero.'"]

[Footnote 32: Rich, in his "Companion to the Latin Diction," has an excellent illustration of this passage:—"This art was of very great antiquity, and much practised by the Greeks and Romans, both on the stage and in the tribune, induced by their habit of addressing large assemblies in the open air, where it would have been impossible for the majority to comprehend what was said without the assistance of some conventional signs, which enabled the speaker to address himself to the eye, as well as the ear of the audience. These were chiefly made by certain positions of the hands and fingers, the meaning of which was universally recognised and familiar to all classes, and the practice itself reduced to a regular system, as it remains at the present time amongst the populace of Naples, who will carry on a long conversation between themselves by mere gesticulation, and without pronouncing a word." That many of these signs are similar to those used by the ancients, is proved by the same author, who copies from an antique vase a scene which he explains by the action of the hands of the figures, adding, "A common lazzaroni, when shown one of these compositions, will at once explain the purport of the action, which a scholar with all his learning cannot divine." The gesture to signify love, employed by the ancients and modern Neapolitans, was joining the tips of the thumb and fore-finger of the left hand; an imputation or asseveration by holding forth the right hand; a denial by raising the same hand, extending the fingers. In mediaeval works of art, a particular attitude of the fingers is adopted to exhibit malicious hate: it is done by crossing the fore-finger of each hand, and is generally seen in figures of Herod or Judas Iscariot.]

[Footnote 33: Tacitus, Annals, lib. i. sect. 77, in Murphy's translation.]

[Footnote 34: This measure of "restrictive policy," which gave to the patent theatres the sole right of performing the legitimate drama properly, led to the construction of plays for the minor theatres, entirely carried on by action, occasionally aided by inscriptions painted on scrolls, and unrolled and exhibited by the actor when his power of expressing such words failed. This led to the education of a series of pantomimists, who taught action conventionally to represent words. At the close of the last century, there were many such; and the reader who may be curious to see the nature of these dumb dramas, may do so in two volumes named "Circusiana," by J.C. Cross, the author of very many that were performed at the Royal Circus, in St. George's Fields. The whole action of the drama was performed to music composed expressly to aid the expression of the performers, among the best of whom were Bologna and D'Egville. It is a class of dramatic art which has now almost entirely passed away; or is seen, but in a minor degree, in the pantomimic action of a grand ballet at the opera.]

[Footnote 35: L'Antiq. Exp. v. 63.]

[Footnote 36: Louis Riccoboni, in his curious little treatise, "Du Theatre Italien," illustrated by seventeen prints of the Italian pantomimic characters, has duly collected the authorities. I give them, in the order quoted above, for the satisfaction of more grave inquirers. Vossius, Instit. Poet, lib. ii. 32, Sec. 4. The Mimi blackened their faces. Diomedes, de Orat. lib. iii. Apuleius, in Apolog. And further, the patched dress was used by the ancient peasants of Italy, as appears by a passage in Varro, De Re Rust, lib. i. c. 8; and Juvenal employs the term centunculus as a diminutive of cento, for a coat made up of patches. This was afterwards applied metaphorically to those well-known poems called centos, composed of shreds and patches of poetry, collected from all quarters. Goldoni considered Harlequin as a poor devil and dolt, whose coat is made up of rags patched together; his hat shows mendicity; and the hare's tail is still the dress of the peasantry of Bergamo. Quadrio, in his learned Storia d'ogni Poesia, has diffused his erudition on the ancient Mimi and their successors. Dr. Clarke has discovered the light lath sword of Harlequin, which had hitherto baffled my most painful researches, amidst the dark mysteries of the ancient mythology! We read with equal astonishment and novelty, that the prototypes of the modern pantomime are in the Pagan mysteries; that Harlequin is Mercury, with his short sword called herpe, or his rod the caduceus, to render himself invisible, and to transport himself from one end of the earth to the other; that the covering on his head was his petasus, or winged cap; that Columbine is Pysche, or the Soul; the Old Man in our pantomimes is Charon; the Clown is Momus, the buffoon of heaven, whose large gaping mouth is an imitation of the ancient masks. The subject of an ancient vase engraven in the volume represents Harlequin, Columbine, and the Clown, as we see them on the English stage. The dreams of the learned are amusing when we are not put to sleep. Dr. Clarke's Travels, vol. iv. p. 459. The Italian antiquaries never entertained any doubt of this remote origin. It may, however, be reasonably doubted. The chief appendage of the Vice or buffoon of the ancient moralities was a gilt wooden sword, and this also belonged to the old Clown or Fool, not only in England but abroad. "The wooden sword directly connects Harlequin with the ancient Vice and more modern Fool," says the author of the letter-press to Cruikshank's Punch, apparently with the justest derivation.]

[Footnote 37: This statue, which is imagined to have thrown so much light on the genealogy of Punch, was discovered in 1727, and is engraved in Ficoroni's amusing work on Maschere sceniche e le figure coniche d'antichi Romani, p. 48. It is that of a Mime called Maccus by the Romans; the name indicates a simpleton. But the origin of the more modern name has occasioned a little difference, whether it be derived from the nose or its squeak. The learned Quadrio would draw the name Pullicinello from Pulliceno, which Spartianus uses for il pullo gallinaceo (I suppose this to be the turkey-cock) because Punch's hooked nose resembles its beak. But Baretti, in that strange book the "Tolondron," gives a derivation admirably descriptive of the peculiar squeaking nasal sound. He says, "Punchinello, or Punch, as you well know, speaks with a squeaking voice that seems to come out at his nose, because the fellow who in a puppet-show manages the puppet called Punchinello, or Punch, as the English folks abbreviate it, speaks with a tin whistle in his mouth, which makes him emit that comical kind of voice. But the English word Punchinello is in Italian Pulcinella, which means a hen-chicken. Chickens' voices are squeaking and nasal; and they are timid, and powerless, and for this reason my whimsical countrymen have given the name of Pulcinella, or hen-chicken, to that comic character, to convey the idea of a man that speaks with a squeaking voice through his nose, to express a timid and weak fellow, who is always thrashed by the other actors, and always boasts of victory after they are gone."—Tolondron, p. 324. In Italian, Policinello is a little flea, active and biting and skipping; and his mask puce-colour, the nose imitating in shape the flea's proboscis. This grotesque etymology was added by Mrs. Thrale. I cannot decide between "the hen-chicken" of the scholar and "the skipping flea" of the lady, who, however, was herself a scholar.]

[Footnote 38: How the Latin Sannio became the Italian Zanni, was a whirl in the roundabout of etymology, which put Riccoboni very ill at his ease; for he, having discovered this classical origin of his favourite character, was alarmed at Menage giving it up with obsequious tameness to a Cruscan correspondent. The learned Quadrio, however, gives his vote for the Greek Sannos, from whence the Latins borrowed their Sannio. Riccoboni's derivation, therefore, now stands secure from all verbal disturbers of human quiet.

Sanna is in Latin, as Ainsworth elaborately explains, "a mocking by grimaces, mows, a flout, a frump, a gibe, a scoff, a banter;" and Sannio is "a fool in a play." The Italians change the S into Z, for they say Zmyrna and Zambuco, for Smyrna and Sambuco; and thus they turned Sannio into Zanno, and then into Zanni, and we caught the echo in our Zany.]

[Footnote 39: Riccoboni, Histoire du Theatre Italien, p. 53; Gimma, Italia Letterata, p. 196.]

[Footnote 40: There is an earlier and equally whimsical series bearing the following title—"Mascarades recuillies et mises en taille douce par Robert Boissart, Valentianois, 1597," consisting of twenty-four plates of Carnival masquers.]

[Footnote 41: Signorelli, Storia Critica de Teatri, tom. iii. 263.]

[Footnote 42: Mem. of Goldoni, i. 281.]

[Footnote 43: Mem. of Goldoni, ii. 284.]

[Footnote 44: I am here but the translator of a grave historian. The Italian writes with all the feeling of one aware of the important narrative, and with a most curious accuracy in this genealogy of character: "Silvio Fiorillo, che appetter si facea il Capitano Matamoros, INVENTO il Pulcinella Napoletano, e collo studio e grazia molto AGGIUNSE Andrea Calcese dello Ciuccio por soprannome."—Gimma, Italia Letterata, p. 196. There is a very curious engraving by Bosse, representing the Italian comedians about 1633, as they performed the various characters on the Parisian stage. The cracked voice and peculiarities of this "great invention" are declared by Fiorillo and Signorelli to be imitations of the peculiarities of the peasants of Acerra, an ancient city in the neighbourhood of Naples. For a curious dissertation on this popular character, see the volume so admirably illustrated by Cruikshank, quoted on a previous page.]

[Footnote 45: John Rich was the patentee of Covent Garden Theatre, and spent large sums over his favourite pantomimes. He was also the fortunate producer of the "Beggar's Opera," which was facetiously said to have made Rich gay, and Gay rich. He took so little interest in what is termed the "regular drama," that he is reported to have exclaimed, when peeping through the curtain at a full house to witness a tragedy—"What, you are there, you fools, are you!" He died wealthy, in 1761; and there is a costly tomb to his memory in Hillingdon churchyard, Middlesex.]

[Footnote 46: Some of the ancient Scenarie were printed in 1661, by Flaminius Scala, one of their great actors. These, according to Riccoboni, consist of nothing more than the skeletons of Comedies; the canevas, as the French technically term a plot and its scenes. He says, "They are not so short as those we now use to fix at the back of the scenes, nor so full as to furnish any aid to the dialogue: they only explain what the actor did on the stage, and the action which forms the subject, nothing more."]

[Footnote 47: The passage in Livy is, "Juventus, histrionibus fabellarum actu relicto, ipsa inter se, more antiquo, ridicula intexta versibus jactitare caepit." Lib. vii. cap. 2.]

[Footnote 48: As these Atellanae Fabulae were never written, they have not descended to us in any shape. It has, indeed, been conjectured that Horace, in the fifth Satire of his first Book, v. 51, has preserved a scene of this nature between two practised buffoons in the "Pugnam Sarmenti Scurrae," who challenges his brother Cicerrus, equally ludicrous and scurrilous. But surely these were rather the low humour of the Mimes, than of the Atellan Farcers.]

[Footnote 49: Melmoth's Letters of Cicero, B. viii. lett. 20; in Graevius's edition, Lib. ix. ep. 16.]

[Footnote 50: This passage also shows that our own custom of annexing a Farce, or petite piece, or Pantomime, to a tragic Drama, existed among the Romans: the introduction of the practice in our country seems not to be ascertained; and it is conjectured not to have existed before the Restoration. Shakspeare and his contemporaries probably were spectators of only a single drama.]

[Footnote 51: Storia Critica del Teatri de Signorelli, tom. iii. 258.—Baretti mentions a collection of four thousand dramas, made by Apostolo Zeno, of which the greater part were comedies. He allows that in tragedies his nation is inferior to the English and the French; but "no nation," he adds, "can be compared with us for pleasantry and humour in comedy." Some of the greatest names in Italian literature were writers of comedy. Ital. Lib. 119.]

[Footnote 52: Altieri explains Formica as a crabbed fellow who acts the butt in a farce.]

[Footnote 53: I refer the reader to Steevens's edition, 1793, vol. ii. p. 495, for a sight of these literary curiosities.]

[Footnote 54: The commencement of the "Platt" of the "Seven Deadly Sinnes," believed to be a production of the famous Dick Tarleton, will sufficiently enlighten the reader as to the character of the whole. The original is preserved at Dulwich, and is written in two columns, on a pasteboard about fifteen inches high, and nine in breadth. We have modernised the spelling:—

"A tent being placed on the stage for Henry the Sixth; he in it asleep. To him the lieutenant, and a pursuivant (R. Cowley, Jo. Duke), and one warder (R. Pallant). To them Pride, Gluttony, Wrath, and Covetousness at one door; at another door Envy, Sloth, and Lechery. The three put back the four, and so exeunt.

"Henry awaking, enter a keeper (J. Sincler), to him a servant (T. Belt), to him Lidgate and the keeper. Exit, then enter again—then Envy passeth over the stage. Lidgate speakes."]

[Footnote 55: Women were first introduced on the Italian stage about 1560—it was therefore an extraordinary novelty in Nash's time.]

[Footnote 56: That this kind of drama was perfectly familiar to the play-goers of the era of Elizabeth, is clear from a passage in Meres' "Palladis Tamica," 1598; who speaks of Tarleton's extemporal power, adding a compliment to "our witty Wilson, who, for learning and extemporal wit, in this faculty is without compare or compeer; as to his great and eternal commendations, he manifested in his challenge at the Swan, on Bank-side." The Swan was one of the theatres so popular in the era of Elizabeth and James I., situated on the Bankside, Southwark.]

[Footnote 57: Dr. Clarke's Travels, vol. iv. p. 56.]

[Footnote 58: In the poem on the entrenchment of New Ross, in Ireland, in 1265 (Harl. MS., No. 913), is a similar account of the minstrelsy which accompanied the workers. The original is in Norman French; the translation we use is that by the late Miss Landon (L.E.L.):—

Monday they began their labours, Gay with banners, flutes, and labours; Soon as the noon hour was come, These good people hastened home, With their banners proudly borne. Then the youth advanced in turn, And the town, they make it ring, With their merry carolling; Singing loud, and full of mirth, A way they go to shovel earth."

]

[Footnote 59: Deip. lib. xiv. cap. iii.]

[Footnote 60: The Lords of the Admiralty a few years ago issued a revised edition of these songs, for the use of our navy. They embody so completely the idea "of a true British sailor," that they have developed and upheld the character.]

[Footnote 61: In Durfey's whimsical collection of songs, "Wit and Mirth," 1682, are several trade songs. One on the blacksmiths begins:—

Of all the trades that ever I see, There's none to a blacksmith compared may be, With so many several tools works he; Which nobody can deny!"

The London companies also chanted forth their own praises. Thus the Mercers' Company, in 1701, sang in their Lord Mayor's Show, alluding to their arms, "a demi-Virgin, crowned":—

"Advance the Virgin—lead the van— Of all that are in London free, The mercer is the foremost man That founded a society; Of all the trades that London grace, We are the first in time and place."

]

[Footnote 62: Dr. Burney subsequently observed, that "this rogue Autolycus is the true ancient Minstrel in the old Fabliaux;" on which Steevens remarks, "Many will push the comparison a little further, and concur with me in thinking that our modern minstrels of the opera, like their predecessor Autolycus, are pickpockets as well as singers of nonsensical ballads."—Steevens's Shakspeare, vol. vii. p. 107, his own edition, 1793.]

[Footnote 63: Mr. Roscoe has printed this very delightful song in the Life of Lorenzo, No. xli. App.]

[Footnote 64: The late Rowland Hill constantly sang at the Surrey Chapel a hymn to the tune of "Rule Britannia," altered to "Rule Emmanuel." There was published in Dublin, in 1833, a series of "Hymns written to favourite tunes." They were the innocent work of one who wished to do good by a mode sufficiently startling to those who see impropriety in the conjunction of the sacred and the profane. Thus, one "pious chanson" is written to Gramachree, or "The Harp that once through Tara's Halls," of Moore. Another, describing the death of a believer, is set to "The Groves of Blarney."]

[Footnote 65: The festival of St. Blaize is held on the 3rd of February. Percy notes it as "a custom in many parts of England to light up fires on the hills on St. Blaize's Night." Hone, in his "Every-day Book," Vol. I. p. 210, prints a detailed account of the woolcombers' celebration at Bradford, Yorkshire, in 1825, in which "Bishop Blaize" figured with the "bishop's chaplain," surrounded by "shepherds and shepherdesses," but personated by one John Smith, with "very becoming gravity."]

[Footnote 66: The custom was made the subject of an Essay by Gregory, in illustration of the tomb of one of these functionaries at Salisbury. They were elected on St. Nicholas' Day, from the boys of the choir, and the chosen one officiated in pontificals, and received large donations, as the custom was exceedingly popular. Even royalty listened favourably to "the chylde-bishop's" sermon.]

[Footnote 67: Alexander Necham, abbot of Cirencester (born 1157, died 1217), has left us his idea of a "noble garden," which should contain roses, lilies, sunflowers, violets, poppies, and the narcissus. A large variety of roses were introduced between the fourteenth and sixteenth centuries. The Provence rose is thought to have been introduced by Margaret of Anjou, wife to Henry VI. The periwinkle was common in mediaeval gardens, and so was the gilly-flower or clove-pink. The late Mr. Hudson Turner contributed an interesting paper on the state of horticulture in England in early times to the fifth volume of the "Archaeological Journal." Among other things, he notes the contents of the Earl of Lincoln's garden, in Holborn, from the bailiff's account, in the twenty-fourth year of Edward I.—"We learn from this curious document that apples, pears, nuts, and cherries were produced in sufficient quantities, not only to supply the earl's table, but also to yield a profit by their sale. The vegetables cultivated in this garden were beans, onions, garlic, leeks, and others." Vines were also grown, and their cuttings sold.]

[Footnote 68: This is, however, an error. Mr. Turner, in the paper quoted, p. 154, says, "It may fairly be presumed that the cherry was well known at the period of the Conquest, and at every subsequent time. It is mentioned by Necham in the twelfth century, and was cultivated in the Earl of Lincoln's garden in the thirteenth."]

[Footnote 69: The quince comes from Sydon, a town of Crete, we are told by Le Grand, in his Vie privee des Francois, vol. i. p. 143; where may be found a list of the origin of most of our fruits.]

[Footnote 70: Peacham has here given a note. "The filbert, so named of Philibert, a king of France, who caused by arte sundry kinds to be brought forth: as did a gardener of Otranto in Italie by cloue-gilliflowers, and carnations of such colours as we now see them."]

[Footnote 71: The queen-apple was probably thus distinguished in compliment to Elizabeth. In Moffet's "Health's Improvement," I find an account of apples which are said to have been "graffed upon a mulberry-stock, and then wax thorough red as our queen-apples, called by Ruellius, Rubelliana, and Claudiana by Pliny." I am told the race is not extinct; but though an apple of this description may yet be found, it seems to have sadly degenerated.]

[Footnote 72: The Court of Wards was founded in the right accorded to the king from the earliest time, to act as guardian to all minors who were the children of his own tenants, or of those who did the sovereign knightly service. They were in the same position, consequently, as the Chancery Wards of the present day; but much complaint being made of the private management of themselves and their estates by the persons who acted as their guardians, and who were responsible only to the king's exchequer, King Henry VIII., in the thirty-second year of his reign, founded "the Court of Wards" in Westminster Hall, as an open court of trial or appeal, for all persons under its jurisdiction. In the following year, a court of "liveries" was added to it; and it was always afterwards known as the "Court of Wards and Liveries." By "liveries" is meant, in old legal phraseology, "the delivery of seisin to the heir of the king's tenant in ward, upon suing for it at full age," the investiture, in fact, of the ward in his legal right as heir to his parents' property. This court was under the conduct of a very few officers who enriched themselves; and one of the first acts of the House of Lords, when the great changes were made during the troubles of Charles I., was to suppress the court altogether. This was done in 1645, and confirmed by Cromwell in 1656. At the restoration of Charles II. it was again specially noted as entirely suppressed.]

[Footnote 73: D'Ewes's father lost a manor, which was recovered by the widow of the person who had sold it to him. Old D'Ewes considered this loss as a punishment for the usurious loan of money; the fact is, that he had purchased that manor with the interests accumulating from the money lent on it. His son entreated him to give over "the practice of that controversial sin." This expression shows that even in that age there were rational political economists. Jeremy Bentham, in his little treatise on Usury, offers just views, cleared from the indistinct and partial ones so long prevalent. Jeremy Collier has an admirable Essay on Usury, vol. iii. It is a curious notion of Lord Bacon, that he would have interest at a lower rate in the country than in trading towns, because the merchant is best able to afford the highest.]

[Footnote 74: In Rowley's "Search for Money," 1609, is an amusing description of the usurer, who binds his clients in "worse bonds and manacles than the Turk's galley-slaves." And in Decker's "Knights' Conjuring," 1607, we read of another who "cozen'd young gentlemen of their land, had acres mortgaged to him by wiseacres for three hundred pounds, payde in hobby-horses, dogges, bells, and lutestrings; which, if they had been sold by the drum, or at an outrop (public auction), with the cry of 'No man better,' would never have yielded L50."]

[Footnote 75: "The Meeting of Gallants at an Ordinarie, or the Walkes in Powles," 1603, is the title of a rare tract in the Malone collection, now in the Bodleian Library. It is a curious picture of the manners of the day.]

[Footnote 76: Games with cards. Strutt says Primero is one of the most ancient games known to have been played in England, and he thus describes it:—"Each player had four cards dealt to him, the 7 was the highest card in point of number that he could avail himself of, which counted for 21; the 6 counted for 16, the 5 for 15, and the ace for the same; but the 2, the 3, and the 4 for their respective points only. The knave of hearts was commonly fixed upon for the quinola, which the player might make what card or suit he thought proper; if the cards were of different suits, the highest number won the primero; if they were all of one colour, he that held them won the flush." Gleek is described in "Memoirs of Gamesters," 1714, as "a game on the cards wherein the ace is called Tib, the knave Tom, the 4 of trumps Tiddy. Tib the ace is 15 in hand and 18 in play, because it wins a trick; Tom the knave is 9, and Tiddy is 4; the 5th Towser, the 6th Tumbler, which, if in hand, Towser is 5 and Tumbler 6, and so double if turned up; and the King or Queen of trumps is 3. Now, as there can neither more nor less than 3 persons play at this game, who have 12 cards a-piece dealt to them at 4 at a time, you are to note that 22 are your cards; if you win nothing but the cards that were dealt you, you lose 10; if you have neither Tib, Tom, Tiddy, King, Queen, Mournival, nor Gleek, you lose, because you count as many cards as you had in tricks, which must be few by reason of the badness of your hand; if you have Tib, Tom, King and Queen of trumps in your hand, you have 30 by honours, that is, 8 above your own cards, besides the cards you win by them in play. If you have Tom only, which is 9, and the King of trumps, which is 3, then you reckon from 12, 13, 14, 15, till you come to 22, and then every card wins so many pence, groats, or what else you play'd for; and if you are under 22, you lose as many."]

[Footnote 77: A note to Singer's edition of "Hall's Satires," says the phrase originated from the popular belief that the tomb of Sir John Beauchamp, in old St. Paul's, was that of Humphrey Duke of Gloucester. Hence, to walk about the aisles dinnerless was termed dining with Duke Humphrey; and a poem by Speed, termed "The Legend of his Grace," &c., published 1674, details the popular idea—

Nor doth the duke his invitation send To princes, or to those that on them tend, But pays his kindness to a hungry maw; His charity, his reason, and his law. For, to say truth, Hunger hath hundreds brought To dine with him, and all not worth a groat.

]

[Footnote 78: Let not the delicate female start from the revolting scene, nor censure the writer, since that writer is a woman—suppressing her own agony, as she supported on her lap the head of the miserable sufferer. This account was drawn up by Mrs. Elizabeth Willoughby, a Catholic lady, who, amidst the horrid execution, could still her own feelings in the attempt to soften those of the victim: she was a heroine, with a tender heart.

The subject was one of the executed Jesuits, Hugh Green, who often went by the name of Ferdinand Brooks, according to the custom of these people, who disguised themselves by double names: he suffered in 1642; and this narrative is taken from the curious and scarce folios of Dodd, a Roman Catholic Church History of England.

"The hangman, either through unskilfulness, or for want of sufficient presence of mind, had so ill-performed his first duty of hanging him, that when he was cut down he was perfectly sensible, and able to sit upright upon the ground, viewing the crowd that stood about him. The person who undertook to quarter him was one Barefoot, a barber, who, being very timorous when he found he was to attack a living man, it was near half an hour before the sufferer was rendered entirely insensible of pain. The mob pulled at the rope, and threw the Jesuit on his back. Then the barber immediately fell to work, ripped up his belly, and laid the flaps of skin on both sides; the poor gentleman being so present to himself as to make the sign of the cross with one hand. During this operation, Mrs. Elizabeth Willoughby (the writer of this) kneeled at the Jesuit's head, and held it fast beneath her hands. His face was covered with a thick sweat; the blood issued from his mouth, ears, and eyes, and his forehead burnt with so much heat, that she assures us she could scarce endure her hand upon it. The barber was still under a great consternation."—But I stop my pen amidst these circumstantial horrors.]

[Footnote 79: Harl. MSS. 36. 50.]

[Footnote 80: This pathetic poem has been printed in one of the old editions of Sir Walter Rawleigh's Poems, but could never have been written by him. In those times the collectors of the works of a celebrated writer would insert any fugitive pieces of merit, and pass them under a name which was certain of securing the reader's favour. The entire poem in every line echoes the feelings of Chidiock Titchbourne, who perished with all the blossoms of life and genius about him in the May time of his existence.]

[Footnote 81: Foreign authors who had an intercourse with the English court seem to have been better informed, or at least found themselves under less restraint than our home-writers. In Bayle, note x. the reader will find this mysterious affair cleared up; and at length in one of our own writers, Whitaker, in his "Mary Queen of Scots Vindicated," vol. ii. p. 502. Elizabeth's Answer to the first Address of the Commons, on her marriage, in Hume, vol. v. p. 13, is now more intelligible: he has preserved her fanciful style.]

[Footnote 82: A curious trait of the neglect Queen Mary experienced, whose life being considered very uncertain, sent all the intriguers of a court to Elizabeth, the next heir, although then in a kind of state imprisonment.]

[Footnote 83: This despatch is a meagre account, written before the ambassador obtained all the information the present letter displays. The chief particulars I have preserved above.]

[Footnote 84: By Sir Symonds D'Ewes's Journal it appears, that the French ambassador had mistaken the day, Wednesday the 16th, for Thursday the 17th of October. The ambassador is afterwards right in the other dates. The person who moved the house, whom he calls "Le Seindicque de la Royne," was Sir Edward Rogers, comptroller of her majesty's household. The motion was seconded by Sir William Cecil, who entered more largely into the particulars of the queen's charges, incurred in the defence of New-Haven, in France, the repairs of her navy, and the Irish war with O'Neil. In the present narrative we fully discover the spirit of the independent member; and, at its close, that part of the secret history of Elizabeth which so powerfully developes her majestic character.]

[Footnote 85: The original says, "ung subside de quatre solz pour liure."]

[Footnote 86: This gentleman's name does not appear in Sir Symonds D'Ewes's Journal. Mons. Le Mothe Fenelon has, however, the uncommon merit, contrary to the custom of his nation, of writing an English name somewhat recognisable; for Edward Basche was one of the general surveyors of the victualling of the queen's ships, 1573, as I find in the Lansdowne MSS., vol. xvi. art. 69.]

[Footnote 87: In the original, "Ils avoient le nez si long qu'il s'estendoit despuis Londres jusques au pays d'West."]

[Footnote 88: This term is remarkable. In the original, "La Royne ayant impetre," which in Congrave's Dictionary, a contemporary work, is explained by,—"To get by praier, obtain by suit, compass by intreaty, procure by request." This significant expression conveys the real notion of this venerable Whig, before Whiggism had received a denomination, and formed a party.]

[Footnote 89: The French ambassador, no doubt, flattered himself and his master, that all this "parlance" could only close in insurrection and civil war.]

[Footnote 90: In the original, "A ung tas de cerveaulx si legieres."]

[Footnote 91: The word in the original is insistance; an expressive word as used by the French ambassador; but which Boyer, in his Dictionary, doubts whether it be French, although he gives a modern authority; the present is much more ancient.]

[Footnote 92: The Duke of Norfolk was, "without comparison, the first subject in England; and the qualities of his mind corresponded with his high station," says Hume. He closed his career, at length, the victim of love and ambition, in his attempt to marry the Scottish Mary. So great and honourable a man could only be a criminal by halves; and, to such, the scaffold, and not the throne, is reserved, when they engage in enterprises, which, by their secrecy, in the eyes of a jealous sovereign, assume the form and the guilt of a conspiracy.]

[Footnote 93: Hume, vol, v. c. 39; at the close of 1566.]

[Footnote 94: Dr. Birch's Life of this Prince.]

[Footnote 95: Harleian MS., 6391.]

[Footnote 96: La Vie de Card. Richelieu, anonymous, but written by J. Le Clerc, 1695, vol. i. pp. 116-125.]

[Footnote 97: "A Detection of the Court and State of England," vol. i. p. 13.]

[Footnote 98: Stowe's Annals, p. 824.]

[Footnote 99: I give the title of this rare volume. "Finetti Philoxensis: Some choice Observations of Sir John Finett, Knight, and Master of the Ceremonies to the two last Kings; touching the reception and precedence, the treatment and audience, the punctilios and contests of forren ambassadors in England. Legati ligant Mumdum. 1656." This very curious diary was published after the author's death by his friend James Howell, the well-known writer; and Oldys, whose literary curiosity scarcely anything in our domestic literature has escaped, has analysed the volume with his accustomed care. He mentions that there was a manuscript in being, more full than the one published, of which I have not been able to learn farther.—British Librarian, p. 163.]

[Footnote 100: Charles I. had, however, adopted them, and long preserved the stateliness of his court with foreign powers, as appears by these extracts from manuscript letters of the time:

Mr. Mead writes to Sir M. Stuteville, July 25, 1629.

"His majesty was wont to answer the French ambassador in his own language; now he speaks in English, and by an interpreter. And so doth Sir Thomas Edmondes to the French king; contrary to the ancient custom: so that altho' of late we have not equalled them in arms, yet now we shall equal them in ceremonies."

Oct. 31, 1628.

"This day fortnight, the States' ambassador going to visit my lord treasurer about some business, whereas his lordship was wont always to bring them but to the stairs' head, he then, after a great deal of courteous resistance on the ambassador's part, attended him through the hall and court-yard, even to the very boot of his coach."—Sloane MSS. 4178.]

[Footnote 101: Clarendon's Life, vol. ii. p. 160.]

[Footnote 102: The Diary of William Raikes, Esq., has only recently been published: it relates to the first half of the present century, and proves that the race of diarists are not extinct among ourselves.]

[Footnote 103: Ashmole noted every trifle, even to the paring of his nails; and being as believer in astrology, and a student in the occult sciences, occasionally mentions his own superstitious observances. Thus, April 11, 1681, he notes—"I took, early in the morning, a good dose of elixir, and hung three spiders about my neck, and they drove my ague away. Deo Gratias!"]

[Footnote 104: This diary has been published since the above was written.]

[Footnote 105: It is a thin book, simply lapped in parchment, and filled with brief memorandums written in a remarkably neat and minute hand.]

[Footnote 106: This has also been published in a handsome quarto volume since the above was written. Roberta's collection of Anglo-Gallic coins are now in the British Museum.]

[Footnote 107: Sir Thomas Crew's Collection of the Proceedings of the Parliament, 1628, p. 71.]

[Footnote 108: The consequence of this prohibition was, that our own men of learning were at a loss to know what arms the enemies of England, and of her religion, were fabricating against us. This knowledge was absolutely necessary, as appears by a curious fact in Strype's Life of Whitgift. A license for the importation of foreign books was granted to an Italian merchant, with orders to collect abroad this sort of libels; but he was to deposit them with the archbishop and the privy council. A few, no doubt, were obtained by the curious, Catholic or Protestant.—Strype's "Life of Whitgift," p. 268.]

[Footnote 109: The author, with his publisher, who had their right hands cut off, was John Stubbs of Lincoln's Inn, a hot-headed Puritan, whose sister was married to Thomas Cartwright, the head of that faction. This execution took place upon a scaffold, in the market-place at Westminster. After Stubbs had his right hand cut off, with his left he pulled off his hat, and cried with a loud voice, "God save the Queen!" the multitude standing deeply silent, either out of horror at this new and unwonted kind of punishment, or else out of commiseration of the undaunted man, whose character was unblemished. Camden, a witness to this transaction, has related it. The author, and the printer, and the publisher were condemned to this barbarous punishment, on an act of Philip and Mary, against the authors and publishers of seditious writings. Some lawyers were honest enough to assert that the sentence was erroneous, for that act was only a temporary one, and died with Queen Mary; but, of these honest lawyers, one was sent to the Tower, and another was so sharply reprimanded, that he resigned his place as a judge in the Common Pleas. Other lawyers, as the lord chief justice, who fawned on the prerogative far more then than afterwards in the Stuart reigns, asserted that Queen Mary was a king; and that an act made by any king, unless repealed, must always exist, because the King of England never dies!]

[Footnote 110: A letter from J. Mead to Sir M. Stuteville, July 19, 1628. Sloane MSS. 4178.]

[Footnote 111: See "Calamities of Authors," vol. ii. p. 116.]

[Footnote 112: It is a quarto tract, entitled "Mr. John Milton's Character of the Long Parliament and Assembly of Divines in 1641; omitted in his other works, and never before printed, and very seasonable for these times. 1681." It is inserted in the uncastrated edition of Milton's prose works in 1738. It is a retort on the Presbyterian Clement Walker's History of the Independents; and Warburton, in his admirable characters of the historians of this period, alluding to Clement Walker, says—"Milton was even with him in the fine and severe character he draws of the Presbyterian administration."]

[Footnote 113: Southey, in his "Doctor," has a whimsical chapter on Anagrams, which, he says, "are not likely ever again to hold so high a place among the prevalent pursuits of literature as they did in the seventeenth century, when Louis XIII. appointed the Provencal, Thomas Billen, to be his royal anagrammatist, and granted him a salary of 12,000 livres."]

[Footnote 114: Two of the luckiest hits which anagrammatists have made, were on the Attorney-General William Noy—"I moyl in law;" and Sir Edmundbury Godfrey—"I find murdered by rogues." But of unfitting anagrams, none were ever more curiously unfit than those which were discovered in Marguerite de Valois, the profligate Queen of Navarre—"Salve, Virgo Mater Dei; ou, de vertu royal image."—Southey's Doctor.]

[Footnote 115: Drummond of Hawthornden speaks of anagrams as "most idle study; you may of one and the same name make both good and evil. So did my uncle find in Anna Regina, 'Ingannare,' as well of Anna Britannorum Regina, 'Anna regnantium arbor;' as he who in Charles de Valois found 'Chasse la dure loy," and after the massacre found 'Chasseur desloyal.' Often they are most false, as Henri de Bourbon 'Bonheur de Biron.' Of all the anagrammatists, and with least pain, he was the best who out of his own name, being Jaques de la Chamber, found 'La Chamber de Jaques,' and rested there: and next to him, here at home, a gentleman whose mistress's name being Anna Grame, he found it an 'Anagrame' already."]

[Footnote 116: See ante, LITERARY FOLLIES, what is said on Pannard.]

[Footnote 117: An allusion probably to Archibald Armstrong, the fool or privileged jester of Charles I., usually called Archy, who had a quarrel with Archbishop Laud, and of whom many arch things are on record. There is a little jest-book, very high priced, and of little worth, which bears the title of Archie's Jests.]

[Footnote 118: The writer was Bancroft, who, in his Two Books of Epigrams, 1639, has the following addressed to the poet—

Thou hast so us'd thy pen, or shooke thy speare, That poets startle, nor thy wit come neare.

]

[Footnote 119: There can be little doubt now, after a due consideration of evidence, that the proper way of spelling our great dramatist's name is Shakespeare, in accordance with its signification; but there is good proof that the pronunciation of the first syllable was short and sharp, and the Warwickshire patois gave it the sound of Shaxpere. In the earliest entries of the name in legal records, it is written Schakespere; the name of the great dramatist's father is entered in the Stratford corporation books in 1665 as John Shacksper. There are many varieties of spelling the name, but that is strictly in accordance with other instances of the looseness of spelling usual with writers of that era; as a general rule, the printed form of an author's name seldom varied, and may be accepted as the correct one.]

[Footnote 120: The term seems to have been applied to the article from the pointed or peaked edges of the lace which surrounded the stiff pleated ruffs, and may be constantly seen in portraits of the era of Elizabeth and James.]

[Footnote 121: Nat. Hist. lib. ix. 56. Snails are still a common dish in Vienna, and are eaten with eggs.]

[Footnote 122: Dr. Lister published in the early part of the last century an amusing poem, "The Art of Cookery, in imitation of 'Horace's Art of Poetry.'"]

[Footnote 123: Genial. Dierum, II. 283, Lug. 1673. The writer has collected in this chapter a variety of curious particulars on this subject.]

[Footnote 124: The commentators have not been able always to assign known names to the great variety of fish, particularly sea-fish, the ancients used, many of which we should revolt at. One of their dainties was a shell-fish, prickly like a hedgehog, called Echinus. They ate the dog-fish, the star-fish, porpoises or sea-hogs, and even seals. In Dr. Moffet's "Regiment of Diet," an exceeding curious writer of the reign of Elizabeth, republished by Oldys, may be found an ample account of the "sea-fish" used by the ancients.—Whatever the Glociscus was, it seems to have been of great size, and a shell-fish, as we may infer from the following curious passage in Athenaeus. A father, informed that his son is leading a dissolute life, enraged, remonstrates with his pedagogue:—"Knave! thou art the fault! hast thou ever known a philosopher yield himself so entirely to the pleasures thou tellest me of?" The pedagogue replies by a Yes! and that the sages of the Portico are great drunkards, and none know better than they how to attack a Glociscus.]

[Footnote 125: Ben Jonson, in his "Staple of News," seems to have had these passages in view when he wrote:—

A master cook! Why, he's the man of men For a professor, he designes, he drawes. He paints, he carves, he builds, he fortifies; Makes citadels of curious fowl and fish. Some he dry-dishes, some moats round with broths, Mounts marrow-bones, cuts fifty-angled custards, Bears bulwark pies, and for his outerworks He raiseth ramparts of immortal crust; And teacheth all the tactics at one dinner: What rankes, what files to put his dishes in; The whole art military. Then he knows The influence of the stars upon his meats, And all their seasons, tempers, qualities; And so to fit his relishes and sauces, He has Nature in a pot, 'bove all the chemists, Or airy brethren of the rosy-cross. He is an architect, an ingineer, A soldier, a physician, a philosopher, A general mathematician!

]

[Footnote 126: Sat. iv. 140.]

[Footnote 127: Miscellaneous Works, vol. v. 504.]

[Footnote 128: Seneca, Ep. 18.]

[Footnote 129: Horace, in his dialogue with his slave Davus, exhibits a lively picture of this circumstance. Lib. ii. Sat. 7.]

[Footnote 130: A large volume might be composed on these grotesque, profane, and licentious feasts. Du Cange notices several under different terms in his Glossary—Festum Asinorum, Kaleudae, Cervula. A curious collection has been made by the Abbe Artigny, in the fourth and seventh volumes of his "Memoires d'Histoire," &c. Du Radier, in his "Recreations Historiques," vol. i. p. 109, has noticed several writers on the subject, and preserves one on the hunting of a man, called Adam, from Ash-Wednesday to Holy-Thursday, and treating him with a good supper at night, peculiar to a town in Saxony. See "Ancillon's Melange Critique," &c., i. 39, where the passage from Raphael de Volterra is found at length. In my learned friend Mr. Turner's second volume of his "History of England," p. 367, will be found a copious and a curious note on this subject.]

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