mourn ·

ing

re - turn - ing no

an - swer again.

In this setting of the air those conversant with Irish music will perceive that the two last bars, in each part, were Anglicized, to suit the taste of the time. The air should conclude with a triple repetition of the tonic-a characteristic feature of Irish tunes. Since writing the introductory note (p. 38), I have ascertained that in a manuscript of Music for the Viol de Gamba, formerly in the possession of Mr. Andrew Blaikie, of Paisley, bearing date 1692, the tune is entitled "King James's March to Ireland." In another, dated 1706, which was recently in the possession of Mr. David Laing, (and now in that of Doctor Rimbault,) it appears as King James's March to Dublin." Now, it is most probable that King James, at a time when it was so important to him to excite Irish feeling, would employ Irish airs on his Irish marches; and I think it may be said, that, when the earliest known Scottish settings of the air have Ireland and Dublin as essential points of the title, Scottish editors might have paused before they so confidently claimed it. This remark is not unworthy of notice as collateral evidence-if collateral evidence were needed,—which it is not; for the fact of the air being popular in London, as "THE IRISH TUNE," long before there is any provable trace of it in Scotland, conclusively invalidates the Scottish claim, and establishes, beyond all cavil, the right of Ireland to this charming melody.

THE WOODS OF CAILLINO, p. 161.

See curious note to-p. 162. Here follow the notes of the Shakspearian commentators.

From MALONE'S SHAKSPEARE. Edited by BOSWELL.
PISTOL. Quality? Callino, castore me! art thou a gentleman ?*
* Quality, call you me ?-Construe me.] The old copy reads
"Quallitie calmie custure me."-STEEVENS.

We should read this nonsense thus:

Quality, cality-construe me, art thou a gentleman ?"

i. e. tell me, let me understand whether thou be'st a gentleman.-WARBURTON.

Mr. EDWARDS, in his MS. notes, proposes to read:

The alteration proposed by Mr. Edwards has been too hastily adopted. Pistol, who does not understand French, imagines the prisoner to be speaking of his own quality. The line should therefore have been thus:

"Quality!-calmly; construe me, art thou a gentleman ?”—RITSON.

The words in the folio (where alone they are found)-"Qualitee calmie custure me,' appeared such nonsense, that some emendation was here a matter of necessity, and accordingly that made by the joint efforts of Dr. Warburton and Mr. Edwards has been adopted in mine and the late editions. But, since, I have found reason to believe that the old copy is very nearly right, and that a much slighter emendation than that which has been made will suffice. In a book entitled "A Handful of Plesent Delites, containing sundrie new Sonets, newly devised to the newest Tunes," &c., by Clement Robinson and others, 16mo, 1584, is "a Sonet of a Lover in the Praise of his Lady, to Calen o custure me, sang at every line's end

When as I view your comely grace, Calen o, &c.

Pistol, therefore, we see, is only repeating the burden of an old song, and the words should be undoubtedly printed—

"Quality! Calen o custure me. Art thou a gentleman ?" &c.

He elsewhere has quoted the old ballad beginning

"Where is the life that late I led ?"

With what propriety the present words are introduced, it is not necessary to inquire. Pistol is not very scrupulous in his quotations.

It may also be observed, that construe me is not Shakspeare's phraseology, but-construe to me. So, in Twelfth-Night :-"I will construe to them whence you come," &c.-MALONE.

Construe me, though not the phraseology of our author's more chastised characters, might agree sufficiently with that of Pistol. Mr. Malone's discovery is a very curious one, and when (as probably will be the case) some further ray of light is thrown on the unin telligible words, Calen, &c., I will be the first to vote it into the text.-STEEVENS. "Callino, Custore me" is an old Irish song, which is preserved in Playford's Musical Companion, 673:

E-va ee, e- va ee, loo, loo, loo, loo,

lee.

MEDIUS.

Calli no, cal - li- no, cal - li- no cas - to re

me.

The words, as I learn from Mr. Finnegan, master of the school established in London for the education of the Irish poor, mean, "Little girl of my heart, for ever and ever." They have, it is true, no great connection with the poor Frenchman's supplications, nor were they meant to have any. Pistol, instead of attending to him, contemptuously hums a song.-Boswell.

From J. PAYNE COLLIER'S SHAKSPEARE.

Extract.

"He heard the French soldier speak a foreign jargon, and he replied by the first foreign words that occurred to him, being the Irish burden of an old ballad. Boswell pointed out the air, and the true reading, and thus put an end to the doubt as to an expression which had puzzled commentators."

In CHARLES KNIGHT'S SHAKSPEARE the note on Calen o, &c., stands thus:

"In the folio we find 'Calmie custure me,' which has been turned, in the modern editions, into 'call you me ?-construe me.' Malone found out the enigma. In 'A Handful of Pleasant Delites' (1584) we have 'Sundry new Sonets, in divers kinds of meeter, newly devised to the newest tunes that are now in use to be sung:' and amongst others, 'A Sonet of a Lover in the praise of his Lady; to "Calen o custure me:" sung at everie line's end.' When the French soldier says Quali té, Pistol, by the somewhat similar sound, is reminded of the song of Calen o ;-or, as it is given in Playford's Musical Companion,' Calli-no. Boswell, who gives the music of the refrain, which he says means 'Little girl of my heart, for ever and ever,' adds that the words 'have no great connexion with the Frenchman's supplication.'-Certainly not. But the similarity of sound, as in subsequent cases, suggested the words to Pistol."

In SINGER and LLOYD'S SHAKSPEARE, after alluding to the jargon of old copies, the note proceeds thus :

"Malone found Calen o custure me, mentioned as the burden of an old Irish song, which is printed in 'A Handful of Plesent Delites,' 1584. And Mr. Boswell discovered that it is an old Irish song, which is printed in Playford's Musical Companion, 1667 or 1673

The words are said to mean, 'Little girl of my heart, for ever and ever.' They have," &c. (quoting what is already quoted before from Boswell.)

In all these foregoing notes it will be perceived that the gibberish, Callino, castore me, was allowed to remain gibberish by all the commentators up to the present time, when the true Irish orthography occurred to me, as given in my note to "The Woods of Caillino," p. 162.-EDITOR.

Here is the second piece of music referred to in p. 163.

CALLENO.

From Wm. Ballett's Lute Book. D. 1. 21. Trin. Coll. Dub.
Given in modern notation, from the lute tablature of the original.
CALLENO.

In the first four bars of the above, there is a singular likeness to the air of "Malbrook."

BURIAL OF SIR JOHN MOORE.

Attempt of Doctor Marshall to claim the authorship of the ode, alluded to in note, p. 212. Here follows the parody in which the Doctor is quizzed :

PARODY

ON THE BURIAL OF SIR JOHN MOORE.

"Not a drum was heard."

Nor a sous had he got-not a guinea or note,
And he look'd confoundedly flurried,
And he bolted away without paying his shot,
And the landlady after him hurried.

We saw him again at dead of night,
When home from the club returning;
We twigg'd the Doctor beneath the light
Of the gas-lamp brilliantly burning,

As bare and exposed to the midnight dews,
Reclin'd in the gutter we found him;
And he look'd like a gentleman taking a snooze,
With his MARSHALL cloak around him,

"The Doctor's as drunk as the D-," we said,
And we managed a shutter to borrow;

We rais'd him, and sigh'd at the thought that his head
Would consumedly ache on the morrow!

We bore him home, and we put him to bed,
And we told his wife and daughter

To give him, next morning, a couple of red-
Herrings and soda water.

Loudly they talk'd of his money that's gone,
And his lady began to upbraid him;
But little he reck'd, so they let him snore on,
'Neath the counterpane, just as we laid him!

We tuck'd him in, and had hardly done
When, beneath the window calling,
We heard the rough voice of a son-of-a-gun
Of a watchman "one o'clock" bawling!

Slowly and sadly we walked down

From his room in the uppermost story;

A rush-light we plac'd on the cold hearth-stone,
And left him alone in his glory!

It is a strong proof of the interest excited by the ode, that, forty-three years after the event it celebrated, questions were asked as to truth of the details of the funeral. The Rev. H. J. Symons, who performed the funeral service, answers:

THE BURIAL OF SIR JOHN MOORE.-It had been generally supposed that the interment of General Sir John Moore, who fell at the Battle of Corunna, in 1809, took place during the night; a mistake which, doubtless, arose from the justly-admired lines by Wolfe becoming more widely known and remembered than the official account of this interesting event in the Narrative of the Campaign, by the brother of Sir John Moore, In Wolfe's monody the hero is represented to have been buried

an error of description which has, doubtless, been extended by many pictorial illustrations of the sad scene. Thus the matter rested, until in Notes and Queries, for June 19, 1852, a correspondent inquired whether it was a matter of fact that they buried Moore "darkly at dead of night," which produced a reply from the Rev. H. J. Symons, Vicar of Hereford, the clergyman on that memorable occasion, and who relates :-"I was Chaplain to the brigade of Guards attached to the army under the command of the late Sir John Moore: and it fell to my lot to attend him in his last moments. During the battle he was conveyed from the field by a sergeant of the 42nd, and some soldiers of that regiment and of the Guards, and I followed them into the quarters of the General, on the quay at Corunna, where he was laid on a mattress on the floor; and I remained with him till his death, when I was kneeling by his side. After which it was the subject of deliberation whether