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NOTES.

Page 7, line 5; D. T.]

PROBABLY the same person who wrote Essaics Politicke and Morall, Lond. 1608, 12mo. His name is unknown.

Page 8, line 31; C. B.] Christopher Brooke, the author of Eglogues; dedicated to his much loved Friend Mr. Will. Brown, of the Inner Temple, Lond. 1614, 8vo, &c.

Page 10, line 23; A cleane contrary way]. This expression seems to have been proverbial.

"Come heare, lady muses, and help mee to sing, Come love mee where as I lay;

Of a duke that deserves to be made a king,

The cleane contrary way,

O the cleane contrary way."

Sloane MS. No. 826.

""Tis you must perfect this great work,

And all malignants slay,

You must bring back the king again

The cleane contrary way.'

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A. Brome's Songs and Poems,

1664, p. 162.

Many other instances might be quoted.

Page 10, line 30; Weston]. One of the persons executed for the murder of Overbury. See Life.

Page 11, line 14; W. S.] According to a MS. note of T. Park's, these initials stand for William Shipton.

NOTES.

Page 13, line 12; W. B. Int. temp.] William Browne, the celebrated author of Britannia's Pastorals. He was a student of the Temple at the same time with Overbury.

Page 13, line 25; B. G. Medii Temp.] Probably Bernard Griffin, the author of a collection of sonnets, entitled Fidessa, more Chaste then Kinde, Lond. 1596. The latter has an address, "To the Gentlemen of the Innes of Court," which strengthens the supposition.

Page 14, line 23; Cap. Tho. Gainsford]. The name of this writer occurs to some verses in Add. MS. 15, 227, in the British Museum. Poetical Decameron. See also Collier's

Page 16, line 8; Io. Fo.] Undoubtedly John Ford, the celebrated dramatist. He became a member of the Middle Temple November 16, 1602, and was in all likelihood well acquainted with Overbury, who was of the same Society.

Page 16, line 23; R. CA.] In a copy of Overbury's Characters, formerly belonging to Octavius Gilchrist, that Gentleman has filled up these initials, Richard Ca[row], the author of The Survey of Cornwall.

Query, Edmund Gayton?
John Fletcher, the cele

Page 18, line 15; E. G.] Page 20, line 31; I. F.] brated Dramatist? Le Neve, speaking of the Elegies prefixed to Overbury's Wife, says, "Amongst which, two, from the initials, and the general satire on the sex, appear to be by Fletcher."--Cursory Remarks on the English Poets, p. 28.

Page 24, line 25; W. STRA.] According to Park's MS. note, William Stradling.

Page 25, line 1; OF THE CHOYCE OF A WIFE]. This little poem is always quoted as Overbury's; but Mr. Collier considers it "an unclaimed poem." the Bridgewater Catalogue, p. 223.

See

Page 33, line 12; A WIFE]. This poem is printed in Capell's interesting volume entitled Prolusions; or Select Pieces of Antient Poetry, 1760, 8vo. A col

lation of the first, fourth, and ninth editions is there given. The differences are so trifling, that it was not thought worth while to transfer them to these pages.

Page 46, line 1 ; THE AUTHOUR'S EPITAPH]. In the rare "Portraiture of Sir Thomas Overbury," engraved by R. Elstracke, these lines are given upon a scroll, which the unfortunate knight is in the act of penning. This portrait is of such rarity, that at General Dowdeswell's sale, Sir Mark M. Sykes purchased an impression for fifty pounds. On the dispersion of the Sykes Collection, it realized the large sum of seventyfour guineas!

Page 49, line 5; the voider]. i.e. “ a basket or tray, into which the relics of a dinner or other meal, the trenchers, &c. were swept from the table with a wooden knife."-DYCE.

Page 49, line 14; the Knight of the Sun]. A wellknown hero of romance.

Page 50, line 7; napery]. i.c. linen of any kind, but chiefly table linen; from nappe, French.

Page 50, line 14; Her next part]. i.c. Her marriage

state.

Page 50, line 16; her wrie little finger bewraies carving, &c.] The passage in the text sufliciently shows that carving was a sign of intelligence made with the little finger, as the glass was raised to the mouth. See the prefatory Letter prefixed to Mr. R. G. White's Shakespeare's Scholar, 8vo. New York, 1854, p. xxxiii. Mr. Hunter (New Illustrations of Shakespeare, i. 215), Mr. Dyce (A few Notes on Shakespeare, 1853, p. 18), and Mr. Mitford (Cursory Notes on Beaumont and Fletcher, &c. 1856, p. 40), were unacquainted with this valuable illustration of a Shakesperian word given by Overbury.

Page 53, line 19; a picke-tooth in his hat]. The use of toothpicks was formerly regarded as an affectation of gentility. It was an Italian invention introduced here about the year 1600. Lucio, in Fletcher's

Woman Hater, 1607, says, "Sir, but that I do presume upon your secrecy, I would not have appeared to you thus ignorantly attired, without a toothpick in a ribband, or a ring in my bandstring." Act v. sc. 1. -Dyce's Beaumont and Fletcher, i. 78.

Page 55, line 21; dares not salute a man in old clothes, or out of fashion]. "It is also but opinion that a proud coxcombe in the fashion, wearing taffata, but an illfavored locke on his shoulder, thinkes all that weare cloth, and are out of fashion, to be clownes, base, and unworthie his acquaintance."--Peacham's Truth of our Times, 1638, p. 57.

Page 55, line 25; a whifler]. The derivation of this word is from whiffle, to disperse as by a puff of wind, to scatter. A whiffler, in its original signification, evidently meant a staff-bearer, and not a fifer, as is generally supposed. See several communications on this subject in the Gentleman's Magazine for 1851.

Page 55, line 25; a torche-bearer]. Torch-bearers appear to have been the constant attendants upon our old masks. "He is just like a torche-bearer to maskers; he wears good cloaths, and is ranked in good company, but he doth nothing."-Westward Hoe, 1607.

Page 56, line 21; weares the Bible in the streetes]. i.e. attached to the girdle; by no means uncommon at the period when Overbury wrote. Again, in his character of "A Button-Maker of Amsterdam," our author says, his zeal consists much in hanging his Bible in a Dutch button."

Page 57, line 10; the tune of fortune]. i.e. Fortune my foe, one of the most celebrated ballad tunes of the sixteenth and seventeenth centuries. Its history may be read in Mr. W. Chappell's Popular Music of the Olden Time, p. 162.

Page 57; line 17; musk comfects.]. i.c. sweetmeats. Page 59, line 10; bought in S. Martines]. i. e. St. Martin's-le-Grand, a famous place for lace and jewel

lery of an inferior kind, in the seventeenth century. Webster, Massinger, and other of the old dramatists, allude to it. Butler has the following passage :""Tis not those paltry counterfeits French stones, which in our eyes you set, But our right diamonds, that inspire And set your am'rous hearts on fire; Nor can those false St. Martin's beads, Which on our lips you place for reds, And make us wear like Indian dames, Add fuel to your scorching flames."

Hudibras, ii. 367, ed. Nash. Page 64, line 5; Pomanders]. A kind of perfume, generally made in the form of a ball, and worn about the person. See Halliwell's Archaic Dictionary, 636.

Page 64, line 25; Cut-purse]. The purse was for merly worn, suspended by a silken or leather strap, outside the garment. Hence the miscreant, whom we now denominate a pickpocket, was then properly a cut-purse.

Page 65, line 1; yellow stockings]. Much worn in the first half of the seventeenth century. Shakespeare says, "Remember who commended thy yellow stockings."-Twelfth Night, Act ii. sc. 5.

Page 65, line 3; pantofles]. i.e. slippers or pattens. "A wooden pantofle or patin."-FLORIO.

Page 65, line 8; Make a leg]. A leg here signifies a bow. Decker says, "A jewe never weares his cap threadbare with putting it off; never bends i' th' hammes with casting away a leg, &c."—Gull's Hornebooke, p. 11.

Page 65, line 14; Dor]. A drone-bee.

Page 65, line 19; Booke of good manners]. Perhaps an allusion to The Book of Good Manners, translated out of the French of Jaques le Graunt, and printed by Caxton in 1487. Similar works were issued at a later date.

Page 65, line 26; speaks Euphues].

"An affected

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