« AnteriorContinuar »
Car. I fled too,
Young Hengo there; he trasbd me. Here Bonduca and Nennius are accusing Caratach of running away from the Romans. Caratach answers,
Caratack answers, “ It is very true, Nennius, that I fled from the Romans.-But re“ collect, I did not run so fast as you pretend : I soon stood “ still to defend your favourite youth Hengo :-He “ STOPPED my fight, and I saved his life.” In this parsage, where tras properly signifies check, the commentators substitute trace : a correction, which entirely destroys the force of the context, and the spirit of the reply.
Mr. WARTOX. (P.431.) P'll watch him tamo. I believe Shakespeare in this place peculiarly alluded to the art of falconry. Falconers always tame their wild hawks by keeping them from Neep. In order to do this more effectually, they watch by turns, so that the hawk is never suffered to close his eyes, till they have watcb'd him tame, PERCY.
(P.443.) Ill whistle her off, &c. This passage may possibly receive illustration from a similar one in Burton's Anatomy of Melancholy, p. 2. sect. 1. mem. 3. “ As a long-winged hawke, when he is first whistled of the "fift, mounts aloft, and for his pleasure fetcheth many • “ circuit in the ayre, still soaring higher and higher, till he “ come to his full pitch, and in the end, when the game is “ sprung comes down amaine, and stoupes upon a sudden."
PERCY. (P. 485.) such terms upon his callet. This word is of great antiquity in the English language. Chaucer has it in his Remedye of Love.
C, for calet, for of, we have o
L, for leude, D, for demeadure, &c. PERCY. The insertion of this note affords me an opportunity of re. tracting a hasty conjecture I had formed concerning the origia of the word callot.
STEEVENS. (P. 498.) Alas my friend and my dear countryman!
This passage incontestibly proves that Iago was meant for a Venetian.
N. B. All the notes to which no games are subscribed, are taken from the last Oxford cdition.
Ρ Ε Ν
The following notes were communicated too late to be in
serted in their proper places in the foregoing Appendix. (VOL. II. p. 370 )
My lips are no common, though several they be. In the note upon this passage it is said that SEVERAL is an inclosed field of a private proprietor.
The author of the note has totally mistaken this word. In the first place it should be spelled severell. This does not fignify an inclosed field or private property, but is rather the property of every land holder in the parish. In the uninclofed parishes in Warwickshire and other counties, their method of tillage is thus. The land is divided into three fields, one of which is every year fallow. This the farmers plough and manure, and prepare for bearing wheat, Betwixt the lands and at the end of them, fome little grass land is interspersed, and there is here and there, some little patches of green swerd. The next year this ploughed field bears wheat, and the grass land is preserved for hay; and the year following the proprietors fow it with beans, oats, or barley at their discretion; and the next year it lies fallow again; so that each field in its turn is fallow every third year: and the field thus fallowed is called the common field, on which the cows and sheep graze, and have herdsmen and thepherds to attend them, in order to prevent them from going into the two other fields which bear corn and grafs.' Thefe laft are called the severell, which is not separated from the common by any feuce whatever ; but the care of preventing the cattle from going into the severell is left to the herdsmen and shepherds ; but the herdsmen have no authority over the town bull, who is permitted to go where he pleases in the feverell.
Dr. JAMES. (VOL. III. p. 29.)
The nine mens morris is fill'd up with mud. In that part of Warwickshire where Shakespeare was edu. cated, and the neighbouring parts of Northamptonshire, the fhepherds and other boys dig up the turf with their knives to represent a sort of imperfect chess-board. It consists of a square, sometimes only a foot diameter, sometimes three or four yards. Within this is another square, every side of which is parallel to the external square; and these squares are joined by lines drawn from each corner of both squares, and the middle of each line. One party, or player, has wooden pegs, the other stones, which they move in such a VOL. X. O
Ρ Ρ Ε
NDIX II. manner as to take up each other's men as they are called, and the area of the inner square is called The Pound, in which the men taken up are impounded. These figures are by the country people called Nine Men's Morris, or Merrils, and are so called, because each party has nine men. These figures are always cut upon the green turf or leys, as they are called, or upon the grass at the end of ploughed lands, and in rainy seasons never fail to be choaked up with mud.
(VOL. III. p. 224.) Since this note was written, I have found among the Harleian MSS. (n. 7333.) an English translation of the Gefta Romanorum, which contains the two stories of the Jew and of the caskets. I have also met with a printed copy in the black letter, but not older than 1600, as I guess, for the title-page is loft. This has only the story of the calkets. However it is not improbable that the story of the Jew may have been in some of the former impressions; as R. Robinson says expressly, that the book, as published by him in 1577, contained twenty-one sheets, whereas my copy contains only fifteen.
Upon the whole, if any English tranlation of the Pecorone can be produced of an earlier date than the Merchant of Venice, it will be very clear, I think, that Shakespeare took his fable from thence, as there the two stories are worked up into one, as they are in the play ; but it will scarce be doubted, that Ser Giovanni, the author of the Pecorone, was obliged to the Gefta Romanorum for the materials of his novel.
(VOL. IV. p. 245.) The Pavan from pavo a peacock, is a grave and majestick dance. The method of dancing it was antiently by gentlemen dressed with a cap and sword, by those of the long robe in their gowns, by princes in their mantles, and by ladies in gowns with long trains, the motion whereof in the dance resembled that of a peacock's tail. This dance is supposed to have been invented by the Spaniards, and its figure is given with the characters for the steps in the Orchefographia of Thoinet Arbeau. Every pavan has its galliard, a lighter kind of air, made out of the former. The courant, the jig, and the hornpipe are sufficiently known at this day.
Of the passamezzo little is to be said, except that it was a favourite air in the days of Q. Elizabeth. Ligon in his history
of Barbadoes, mentions a pasamezzo galliard, which in the year 1647 a Padre in that illand played to him on the lute; the very same, he says, with an air of that kind which in Shakespeare's play of Henry IV. was originally played to Sir John Falstaff and Doll Tearsbeet, by Sncak, the musician, there named. This little anecdote Ligon might have by tradition, but his conclusion, that because it was played in a dramatic representation of the history of Henry IV. it must be so ancient as his time, is very idle and injudicious. -Pally-measure is therefore undoubtedly a corruption from passamezzo.
Sir J. HAWKINS.
(VOL. IV. p. 178.) – three merry men we be. The wise men were but seaven, ne'er more shall be for me; The muses were but nine, the worthies three times three; And three merry boyes, and three merry boyes, and three
merry boyes are wee. The vertues) they were seven, and three the greater bee; The Cæsars they were twelve, and fatall sisters three. find three merry girles, and three merry girles, and three merry girles are wee.
Sir J. HAWKINS.
(VOL. VII. p. 148.) The Latin play of Richard III. (MS. Harl. n. 6926 ) has the author's name-Henry Lacey, and is dated-1586.
The pallage, which I would mention, is upon the appearance of Richard to Buckingham and the others who came to offer him the crown.
Sed nunc duobus cinctus ecce episcopis
apparet in fummå domo princeps pius. It is difficult, I think, to account for such a co-incidence, in a circumstance of mere invention, without supposing that one of the poets must have profited by the others performance.
T. T. This circumstance is not an invention of either poet, bút taken from Hall's Chronicle.
“ At the last he came out of his chambre, and yet not “ doune to theim, but in a galary ouer theim, with a bishop “ on euery hande of hym, where thei beneth might se bym “ and speke to hym, as thoughe he woulde not yet come
nere them til he wist what they meante, &c.” FARMER.
tions, as I think to be still wanting on the works of our favourite poet. The edition you now offer to the publick, approaches much nearer to perfection, than any that has yet appeared ; and, I doubt not, will be the standard of every future one. The track of reading, which I fometime ago endeavoured to prove more immediately necessary to a commentator on Shakespeare, you have very successfully followed, and have consequently superseded some remarks, which I might otherwise have troubled you with. Those I now send you, are such as I marked on the margin of the copy you were fo kind to communicate to me, and bear a very small proportion to the miscellaneous collections of this fort, which I may probably put together some time or other : if I do this I will take care by proper references to make them peculiarly useful to the readers of your edition.
An appendix has little room for quotation I will be therefore as concise as possible.