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Those to whom the law applied, and who wore | done you a courtesie than a wrong, for, if ever the statute-caps, were citizens, and artificers, my L. N. had seene the foole there, he would and labourers; and thus, as the nobility con have begg'd him, and so you might have lost tinued to wear their bonnets and feathers, Ro.. your whole suite.” (Harl. MS. 6395.) saline says, “better wits have worn plain statutecaps.”
31 SCENE II.-—" Pageant of the nine worthies."
The genuine worthies of the old pageant were Joshua, David, Judas Maccabeus, Hector, Alexander, Julius Cæsar, Arthur, Charlemagne, and Godfrey of Bulloigne. Sometimes Guy of Warwick was substituted for Godfrey of Bulloigne. These redoubted personages, according to a manuscript in the British Museum (Harl. 2057), were clad in complete armour, with crowns of gold on their heads, every one having his esquire to bear before him his shield and pennon at arms. According to this manuscript, these “Lords " were dressed as three Hebrews, three Infidels, and three Christians. Shakspere overthrew the just proportion of age and country,
for he gives us four infidels, Hector, Pompey, 30 SCENE II.—“ You cannot beg us.”
Alexander, and Hercules, out of the five of the
schoolmaster's pageant. In this manuscript of Costard means to say we are not idiots. One of the most abominable corruptions of the
geant, with illuminations, the Four Seasons confeudal system of government was for the sove
clude the representation of the Nine Worthies. reign, who was the legal guardian of idiots, to
Sbakspere must have seen such an exhibition, grant the wardship of such an unhappy person
and have thence derived the songs of Ver and to some favourite, granting with the idiot the right of using his property. Ritson, and Douce more correctly, give a curious anecdote illus
32 SCENE II.—" A very good bowler." trative of this custom, and of its abuse : “ The Lord North beggd old Bladwell for a
The following engraving of the bowls of the
sixteenth century is designed from Strutt's foole (though he could never prove him so), and having him in his custodie as a lunaticke,
Sports and Pastimes.' The sport, according
| to Strutt, appears to have prevailed in the he carried him to a gentleman's house, one day, that was his neighbour. The L. North and the
fourteenth century, for he has given us figures gentleman retir'd awhile to private discourse,
of three persons engaged in bowling, from a
| manuscript of that date. (See next page.] and left Bladwell in the dining-roome, which was hung with a faire hanging ; Bladwell walking up and dowue, and viewing the imagerie, | 33 SCENE II.—" I will not fight with a pole, like spyed a foole at last in the hanging, and without
a northern man." delay drawes his knife, flyes at the foole, cutts The old quarter-staff play of England was him cleane out, and layes him on the floore; most practised in the north. Strutt, in his my Lord and the gentleman coming in againe, Sports,' and Ritson, in his Robin Hood and finding the tapestrie thus defac'd, he ask'd | Poems,' have given us representations of these Bladwell what he meant by such a rude uncivill loving contests, from which the following enact; he answered, Sir, be content, I have rather graving is designed. [See next page.] :
“When daisies pied, and violets blue, 34 SCENE II.-“ When daisies pied.”
And cuckoo-buds of yellow hue,
And lady-smocks all silver-white, The first two stanzas of this song are set to
Do paint the meadows with delight." music by Dr. Arne, with all that justness of
In the third and fourth verses, conception and simple elegance of which he
" To-who" was so great a master, and which are conspicuous in nearly all of his compositions that are is a modern introduction, to correspond with in union with Shakspere's words.
“ Cuckoo." But “ To-who” alone is not the This song having been “ married ” to music, song of the owl—it is “ Tu-whit, to-who." The it would not be well to disturb the received original line stand thus : reading. Yet the deviations in all the original
" Then nightly sings the staring owl, copies must be noted. There is a transposition
Tu-whit, to-who, in the first four lines, to meet the alternate
A merry note." rhymes in the subsequent verses. In the ori. Did not the original music vary with the vary. ginals we find,
| ing form of the metre?
CESARE Vecellio, at the end of his third book | the dress of the king and nobles of Navarre, (edit. 1598), presents us with the general costume and of the lords attending on the Princess of of Navarre at this period. The women appear France, who may herself be attired after the to have worn a sort of clog or patten, something fashion of Marguerite de Valois, the sister of like the Venetian chioppine; and we are told Henry III. of France, and first wife of his sucin the text that some dressed in imitation of cessor the King of Navarre. (Vide Montfaucon, the French, some in the style of the Spaniards, Monarchie Française.) We subjoin the Spanish while others blended the fashions of both those gentleman, and the French lady, of 1589, from nations. The well-known costume of Henri Vecellio. For the costume of the Muscovites Quatre and Philip II. may furnish authority for | in the mask (Act V.), see Illustrations, p. 230.