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PACI 

)iuc Nol«8 on tiie Ckmijjaraure Stutly of LiUjiatore. Uy 

G. CjREOOKv Smm 

Eoglub TcrnDslaUoiu of DaDt« in the Bigbt^eath Ccntiir?. B/ 

pAQKr TOTITBtt 9 

Notes on Passages in Shelley. By A. C. Bradley ... 25 

ThR Auihotship pf th« Stings ia LyI/» PUy», By W. W. Oreo . 43 

SbAkospcaniina By O. C. HooBK Smith 53 

A Oenuao Veraon of the Thier-LG^cnd. By JK8»ir Cbosujio . 55 
BEVIEWS 

— Dg'ir .le de4 MtUfUilttrs, Vols, i. anil iv. (B, 

l^iEiacB). — W. Perrett, TAg Story of King Lear /rtm 

G'-' ' "■ th to SAaiw/ware <F. W. 5T. — 

% Moore, TvUs U Opere di Danie AUghieri (L. Eaoo) , 64 

MiyOR NOTICES. 

J. K. S]i' ' " ' ' '' 'i9cimentc.—' 

Ch. Ooeh'i''. , i)ariUtUr. — 

A, lis Braton, Bt^sac, Thomms et Ctmtrg. — L. P. Hetx, La 

LittAntura oompar^ 75 

NfiW PUBUCATXONS 7»^ 

The Modern iMtujitage Heriew^vnW u|>{M.-nr four timCMi a yvai, iu ^ 
October, Jonuor}', April, and July, and tbu Aimual Subscriplion will bo^Sj 
&a. neb, payable in lulvancu, Uio cost of aingle niuubcra 23. fid. Qetl^H 
(post free S3. Sd. and 29. Sd nspectivoly. orith the ogmwpdDtling 
oqaivolcntfl in foroign monies). Tbti juam&I ia sent to &I1 meinbcra 
of the Modurn lA.Qg\iA^ Association who baTc paid their ;iDbfimptiot 
(I0», 6d.) for the cum-at ywu-. Contributions, editorial commuoiJ 
cations unl books for review ethoukl be odilnjsM^ to the BilitorJ 
Pro£ J. Q. RobcrtwA, 6, Lyon Bosd, Bamv. Subaoriptionn uwy 
sent to any Booksellor or to Mr C. F. Qay, MAnager, Cambridge 
Uoivemity Prc«a Warehouse. Fett«r Lane, Londoo. E.C^ to wboca lUso 
ihould be lulUreased all commtinicBlions respecting tklrerbiettmeDts, 



THE MODERN LANGUAGE 
REVIEW 



VOLUME I. 



1905 6 



CAMBRIDGE UNIVERSITY PRESS WAREHOUSE, 

C. F. CLAY, Manaoer. 

Aonbon: FBXTEB LANE, B.C. 

•iifgotB; so, WELLIKOTQN BTEBET. 



mm 




&da}lg: F. A. BROCEHAUB. 

fini ink: O. P. PUTNaM'8 SONS. 

Bsmbq MM etltutii: HAOUILLAN AND Oa, I.TD. 



[AU Rightu Tuerved.} 



THE 

MODERN LANGUAGE 
REVIEW 

A QUjfRTERLT JOURNAL DEMOTED TO THE STUDT 

OF MEDIEVAL AND MODERN LITERATURE 

AND PHiLOLOGT 

EDITED BY 

JOHN G. ROBERTSON 



ADFISORT BOARD 



H. BRADLEY 

L. M. BRANDIN 

E. G. W. BRAUNHOLTZ 

KARL BREUL 

E. DOWDEN 

H. G. FIEDLER 

J. FITZMAURICE-KELLY 

W. W. GREG 



C. H. HERFORD 
W. P. KER 
KUNO MEYER 
W. R. MORFIL:L' " 
A. S. NAPIER :"-': 
R. PRIEBSCH :'"" 
W. W, SKEAT":;:- 
PAGET TOYNSEE- 



VOLUME I. 




CAMBRIDGE : 

at the University Press 

1906 



'^\'^o-i> 



CONTENTS. 

ARTICLEH^ PXOK 

AMaarmoKO, E., D&nt« io lUlaiiDn to the Sports Bnd Fastinwa af liia 

Age IT»,30S 

BAUinitPKitnEK, P., TlnitniiH Moure et A. de Vignj .... 1290 

Baku, W., ' Mcaaonuitlutiu of the Inimortul Bun' .... HI 

Bkahlky, a. C, Not«fl Dii I'nmitgtm in Hht-Uoj 25 

HKAbLRV, U., 8oioe Textual ]'iixih<« in Qro«D«^ Works . . . St08 

Craitor, H. J., (Hruiit ili: Rurnclh : *La>i Aploltx' .... SSS 

CiKMLAKD, J., A Uomuu) Vvrsicu of tho Tbiaf-Logcod ... &S 

DenocQrioxT, J., Lexioognipbioitl Notes 188 

Uuwi>K!t, E.. A PAtcphlct l>y Binliup It^;rkclt^)' (Hitliertn Cnrlnwiribeii) 263 

UlUW. W. W., 'I'hf Aiitliumliiji nf thu Smijpi iii Ljlv'n PbjM . 43 

Hattielu, J. T.| Newly Dinciivcrml Polittcnl PoctnH by Wilhiittti Miillcr :£13 

Jac'khos, W, W., On tbe Iiileriiretatiuii of ' pHtvgliu ' irt Untite 116 

KAerxKR, I.. R., Some Old I-'reiicli PoQuut of Uie Autivlirinl, 1. . 269 

M'KsBUOVr, H. 11, NotM on tli« 'Devil's Cbnrtor' )iy IV BanieH . 186 

MooRMA.f, F. W., Tbf I'ro-Hh^Vi^iwitniaii (Hnisit .... 8iS 

MooaUam, F. W., Sl:>ftJcwi]>oikn>'H ()hnnU 193 

BuHXiHT, U. A., NotcH uii Some Cuuiediaii of Lope dc Vega . 9ft 

BoSEimoH, J. Q., Th« Knowledge of Shokcispoare on the Continent 

at tbo Begiauir>t; of tbo Ei^bt<»iith Ontiit^ .... 313 

StKAT, W. W., Ptovouyal Wrtrdu in Engliah 283 

Sxim, a. C. MooM, Notu ou tho 'Devil's CUiicr' \>y h. Bomes. 184 

Smith, U. C. Muukk. Shj^keRpeariAna aS 

SMlt», 0. GBEfK^RV, Sume Note* wi tbtj Couipttrative Siudy of Litem- 

tui« I 

SVAKK, A. E. H., Sutoi on tlia 'Devil's Ouulw' bv B. Bornew Hi 

TaullA^ p. 0^ NobCH on tlic Ungiiogo of 'Bcuwulf' . . . iUS 
TovKBKK. Faokt, Kngliiib TnunOiitioiiM at ]Juiitt> in ihr Kigfau<niith 

Cwiturj- a 

Yociifi, A. B., 8bell«y nnd M. G. Lewis 323 

MISCEL1*4NE0US NOTES. 

Okko, Vf. W., JiKinnn'rt 'Staple of Nova' S97 

Lrm.Kn*i.c, H., 'A Huidlms Rear' i:tS 

LiTTLsiiALi:, IL, 'hvrii htthaimt' SU)3 

LooKUAM!t, H., 'To HTt KjH-il uii end' 3S5 

Oxtom, C:. TALBtl, ' Mrary Greek ' 331 

acoAxm, G., OotiBub -llijiindiul. I«n* . . , . . '* . 3fiS 

SiMrw-x, l*„ TWp I'nlbdiree' 3d6 

RuiT)i, li. ('. Mr>»itE, Seneca, Joiiituu, IMniel and WordKWArtli . J3^ 

BwABK, A. £. II., FieMing and Qold»njitb in Loydcn . 3S7 



VI "^^^^^ CtnUenis 

RHVTEWS. PAOB 

BwiM, K, Tbt OtviV* CturUT, «d. k* R. B. U*KerTcnr (W. W. Oreg) 139 

Bofger, K^ ficbtUcr. l B&ud {J. ii. Bobortwa) lAI 

Blake, W^ Tha lijrrio Poems of, cd. b; J. Samimoi) {Q. Gngoi? SmiUi) . 343 

BUkc. W., Th« PveticaJ Woria of, oiL by J. Suhimou (0. Qntfty South) 343 

Bradley, A. G, ShAkoipeumn Tmgodjr (O. H- Huribn)) . . . IM 

Brcyiuuiiii, IL, Ciil(lon>ii-StD«l>cOi i. Toil (J. Fitsnutunoo-KcU;) . 64 

Brookv, S. A., On Ten P1a>s of Sh^oepMn (U. C, Moore Smith) . 334 

BriictncT, A., Uaactuckte der niBUBcbM) Literatur (W. It. Uur&ll) . SfiS 

CUvert, A. F^ Tho Lifs of OrvADMi (H. OelMuer) .... 353 

Okpollt, L. M., Tarule rinwrautiva delU Diviiia Otiaunedik (L. Ragg) 2&8 
Chntiinut, O,, Biuwv U'Aniboia and the Revenm of Buasv D'Ambois 

(ft'. Vr. tJiTR) . . . . 141 

CbiqipoUi, A., l>cUa Trilogia di UmiM (L. EUgg) . . . . SH 

CowIa)-, a., Th« Pmum of, «d. b^ A. R. Wftlkr (Q. a UmauIa;) . 14A 

Unwoiui, V'., NlAntuJotbo proTonxnle (G. A. Parry) .... 100 

Haute Alighieri, Tntte 1« U|)erc di, hredut* da E. Mook (L. Rogg) 73 

Uiuite AlLiihieri, I^a Dtviiu Comtuediii, |Nir cur« di R Fonucuri 

(L. lUgx) 367 

Danto'n UiviiiA Oointn«dia, trand. hy U. F. Toter (L. Rmqi} . IS8 

tlatito Alighwri. The Put^torio of, tmusj. by C. 0. Wriyht (L. Ra^) IflO 

Dakker, Tb., Old Fortunatu*. «1. I>j O. Snawitou (W. W. Ong) . 138 

DmitMslio Teste d« MittBl&ltert, i. and iv. Baad (R. PriebHCh) . 66 

E[uer»>ii, U. F., A Middle HiuIUh Honder (H. Ultkdolo). . . 133 

Fit/iuiLitrice- Kcll V, J.. C*«rvAiit«» in Eu^land ^If. Ouluicr) . . SfiB 

Klouiiui. P., ATrUmonbo alio studio ddlUt Divio* OomBwdia (L. Kagg) . i&8 
Kraiu, W., Ortliogr&|>hie, biut^buug uod K'ortbildaiig in den Wcrkeii 

l})utkQ)ip(>aroB (A. Miiwer} 342 

Ooapeb of St .loliii. 8t Mattbow aud St Mark in Wmt-Soxcn, ed. 

by J. W. Bright (R. W. C'liambots) SfiS 

Qraodnnt, C. H., Phonology and Murphologj- of Old Provfltt^al 

<H. J. Chaytor) 353 

Qrwte. a. The Plays and Poems of, od. by J. C. Collios ( W. W. 0«g) 238 

Hare^ Oh., Dante the W«yfawr (L. Ra^) 255 

Holler, 0., Studitv iti MiHlera 0«nruu] Literaturv (R. M. ileyor) 348 

Uuioo, M., Spanioli Infliiniioe oii Rngliah Litorntura {H. OoUnor) . 361 

Jenpenten, O., OrowtU aiid Structure of the Euglitib Laogaa^ 

(A- Maw^-r) 234 

JubiuituMu, A., Phoi)«tiwt of tbo New High Qoraoaa l^boguago (R. A. 

WiUiame) 345 

Jofwuii, B«u, BaKhoUuncw Fair, ed. by C. S. Alden <W. W. Ore^) . 142 
Joiwoi), lieu, Eaatward Hoe and tho Alchomist, od. Iiy F. K. Sohelling 

{W. IV. Onig) 141 

Joiwiii, Itcn. Puptaater, ed. by U. & Mallory (W. W. Oreg) . I4S 

JoDMR, Ben, Tho SUplv uf Nvws, mL by De Wbtcr (W. W. Qn^} . 143 

Jonaou, B«n, UnderwoodH (P. SimiMton) 351 

KcaU, J., Thu Pudoa of, ed, by E. do S61moouit (A. R WaUu*} . 148 
KootiiKtl, R., StiokiMucareti Wirlcimg auf MtgaoOMiacbe DrauMikM- 

(W. W. (ircg) 140 

Maaaingor, Ph., A New Way tv Pay Old Debts, ed. by ih Stronacli 

(W. W. iins) l»8 

Milohior, v., iloinoH Vurlialtnia au Lord Bymii (J. Lees) . . 153 

Miiller, P. Mai, Ilia (Jenuau CUanio! (J. G. Robortsou] . . . 34d 



A 



Contenttt 



Vll 



REVTKWS e<mt. faob 

N'u/M, E^ Tlie Canentliio aim] ita SUii; (U R«gg) .... 351 

Ocliseubcin. W., Div AufDahmo Lord Byrtnu ia DcuUcblaDd {J. LooaJ I&3 

PatU, O., HifiUiire {xj^tiipiB de UbiLrioniHgne (R. Weeks) . . 303 

P«dM>tiut>, «d. I)j U. V. Muore SuiitU (F. 3. Boa») . . . . SSfi 

P«elB, O., The AmigQiii«iiL of PurU, nl. by 0. SujouUjii (W. W. Ung) 138 

PemtU, W., Tho SWrj of King Lwr (F. W. Moorumu) ... 78 

l»rinr. M.. Tbo Writings of, »d. by A. K. Waller (G. Gregory Smith) 343 

Heluni ftxMii !*iimj»iwi«, The, ed bv 0. Sniwvkni (W. W. Greg) 138 

Ituh0rtRon,J.M., I>td SliAkMpearawritv Titus An..Irf>Dicu8?(W.W.Gny) 337 

Scattuxini, O. A., DanbologU (3b odisionci) {L. lUg};) . 857 
Soborcr, W., A HiatftTy of 0«rtniui Latemture, tnuul. bj F, C. OonybeaM ' 

(J. G. Robertaon) 348 

SehiUer, K. voii, Siiiiitlicli« Wcrt^ Sakulur-AuHjtalio (J. (I. RolMtrtAon) IfiO 

Sehlegel, A. W. iind F., Athcnnnum, hntg. von F. BAJidir (K. Itl. Mover) IIS4 
Sbddon, E. i^. niid A. (*. WhiU), {.Vnoordiitiok dutlo opore italiane in 

pniMi o del CuriEonii'Tv dj Dunbe (P. Tujnliee) .... ISA 

Bqajrr of Lo«« Dngro, Thi>, wl. by W, E. ifwul (F. Sidgwicb) . 78 

Tunucu, G., Teulogiii Daiitwca (L. Bogg) SA7 

Thonuus A., Kouv«aux F.^waiA d« pbilologift fhmQaifie (L. M. BrAndin) S-'iS, 3fi6 
TliotnpMiii, B. N. S., TliB Oontrov«nijr betwtwii tha Ptiritftim mid tbe 

SUgp (W. W. Un-g) 144 

WeUt«r, J., The White JJovil and the Daohow of Malfy, «L by 

M. W. Saiaiwoit (W. W. Oit«) 141 

WiUiwm, W. II_, .Speciin«HB of Kliwbetluiii DnunA (W. W. GKg] 137, 3SB 

Wilftuii, A., Tli« Swioser. imWi.- |«ir A. FeuiUerat (W. W. «««) 140 

WtlMin, J. D., John Ly\y (A. Feaillunit) 330 

WoodbridKO, H, Htvidica in Joimon'H Cirui.udy (W. W. Ora^O t-*S 

Wurico for Oitlera, «1. by A. F. Si«vnkiiig (W. W. Onsg,). . 138 

MINOR NOTICES. 

BauotfiiiM 78 

Bvu. L. P., Tji litt^nttint compiu^ 77 

Bibliotboca romfuiica, I — 10 164 

Camtindge English Literntiire 361 

ChftbaiMftu. Feabichrifi for PmfiMior 861 

lyflvidiii, Ft II l^I^g»Ul^io o il sm^i [irohidio SOB 

Gwhdo, Cbr., David Uuriok nle t^Iiii.lcc--!iiioant-DjimtcI1fT ... 76 

Oo«Ui«'ft Fsust, truul. by A. Swfinwick, «l by K, Breiil ... 163 

Kor, W. P., EoMT? in Medievul LiMrAtun! 161 

Cftoh, M., OMc)iicht« dnr dout^chon Ijtcrnttir S&ft 

Le Breton, A., BaUac, I'boaune et I'oeuvni 76 

[jtenj^Ncbar Veiein iii Wien 194 

Molitro OoUection !□ Unrvard Colliqcv, CiitAb>giio of tbe . . 8M 

0««aU, E., Tbe Leireud vf Fair Uclea 394 

TtpJ*, a., Tlio DJAjy of, »d. by O. Gregory Smith .... 168 

Sneihd dee Textce frAutain modcrii«« 78 

Spinpuii, J. R., La Critics tottenma oel RinAMrituenb) ... 7& 

Wultcff, E., LivtuviAkA Obn»t4>uuttiju II 163 

Wunbwurlb, W., Lit^iniry Oriliwui, «(l. bj- N. C. Smith . . 168 

Wacdairartht W., Foctoa And Eitracto choecti by ... . 169 

KBW PUBLICATIONS 79,168,288,347 



Volume I 



OCTOBEa 1905 



Nl'MBEtt 1 



SOME NOTES ON THE COMPARATIVE STUDY 
OF LITKRATUKK. 



I 

■ 

r 



> Tub )at« M. Gaston Fhris, in an addreaa to the literary section of 
the Conyris d'Histoire comparte. in July 1000, laid it down that there 
•re two bmncbes in the compAmtivc stu<ly of literature, 'two kintln 
which have different aims, methods, and results.' He tiistingnishcfi 
the tirst as the compari.'ton of siibjectn and fumis in the literatures 
of different peoples, the seeking out of {viintit of contact between these 
different ordere of work, and tht disicovery bwieath individual and 
national cbaraeteriHtio) of (.'urtain common and international eleinL>ntA. 
The second he dl^fin«d as a science associated with fulkloro, mytho- 
graphv, eomparative raythoUijjj', which Utvi outside literature proper, 
and \s intervsted in the problem of the pArallclism of mnterial in diffurent 
nations, jis we find it, for example, in the greftt furpus of the Fabliaux. 
Us function is not primarily to attempt to solve the difficult quention 
whether such repetition xs hut the varied expression of the ideatM 
/oneikre of the human spirit or \» ti> be traced by different channels 
Ui a single source, but to devote itself to the observation of these 
liandleliiUUH, wherever they ap|)ear, and to note carnfully th»;ir modi- 
fications. In thie way. he added, the second branch liiikit iu-^i-lf t^* the 
fBMthelic couipanttoD of literutures. 

This scheme appe-srs to he — lot it be said with all rwpect — in- 
ttde<|uat<:L It dcaU with what may be culled the ' historical ' uapect of 
the subject; and. though it is more philo.sophica[ than M. Ijnineti^re's. 
it entirely neglects the critical matters witli whJL-h the cuinpanitive 
method most coacem iteelf. if it is to reach to ita higher jmriiuse. 

On what we may call, Irom want of ii bctk-r naniti, the ' historical ' 
Mde of the subject we are nsked to deal with (1> the antiquarian and 
gvnenlo^cal facte of uuthorshij), (2) the cotnmon elements in national 
literalures. and (3) the fulklon'^ \mvk». In the first of tht-Mu art grouped 
the valuable studies on the influence of individual authors and books oD 
other atithoni and books, or even upon nations: the specific oGTecte of 
H. I. n. 1 




J 



2 So7m Notes on the Comparative Study of Literatw-e 

suoh a work aa the Roman de la Rose ljiod mediffival literature, or o( 
Bichardson on later French literature, or of Richber on Carlyle — 
problems of varjing extent and difficulty, btit all essentially 'bibUo- 
p^phical.' They presuppose actual contact — one is the result of 
another, or is vouditiuned by it : and therefore the examiuatiou of thoir 
relationship is of the nature of gcnoAlogy. To this catcgoiy belong the 
excellent monoj^phs of M. Teste and. despite his claim to ^eneraliliea. 
M. Brunetiere. The second section tleals with the parallelisms in 
Euroiwan litemtures whith are of wider expression and cannot be 
explained by bamwed pasisHgos, the; Stalinners' Register, or the 
Biogruphical Dictionaries, and which, it should be added, may or may 
net be due to contact between all or any of thera. In this class we find, 
say, the fifteenth century identities in the Drama, ur in hs jmetic ueirfes 
d\mtaii\ or the phases of Marinisni, Gongorisru, Euphuism, in so tar as 
they are unexplained by such direct influences as that of Qucvam upon 
his literaiy- CDU&i»» in Eug'lund. The third section has small claim to 
recoguiliou. for folklore, as M. Paria iidinito, is not a matter of literature 
in any but the loosest acceptation of that word, even if to say so be not 
a contradiction in t«rni8. Yet folklore is always being dragged in, 
eepecially in the cortroversiee which are waged round the prehistoric 
* crowder.' 

M. Faris's two branches are completely represented in these three 
feectiuiiB, and in the ticcond and third rather than the tiret Hin ai!/o- 
CHtivi\ to the Congress had an air of novelty. He roferrud directly bo 
M. Bninctiert^s inaugural address, and, while admitting that it- was 
excellent so fat- as it went, demanded an extension of its survey. A 
moment's reflectiun will show that M. Paris was jusliiied in thinking 
that he had strayed from the beaten track. For 'Comparative Literature,' 
as the accepted estimate gies, is almost csclusively confirmed with 
antiquarian and genealogical matters. M, Brunetiere in all his work, 
from the ^vointion des Genres to occasional articles in the Revttt des 
Vetur Mundet, aud must emphatically Id his inaugural address to the 
Paris Congress, has shown that he has a fine enthusiasm for this 
]Hi,rticiilar branch of n great subject. It would bo folly to decry its 
importance, or even to suggest that it should be pursued less assiduously 
by him and by others wh^ have worked to Biich gond purpose. It must 
always claim the largest share of the cuergj- of ' compaiiitive " students: 
it will certainly be always neees-tary as a preliminnrv stage in the 
development of liteniry history and eriticism. But the fiiult of its 
profeaaons has been, as M. Paris seems to hint, to make it exclusive. 



a GRKCOEY 8UITH 



3 



There is no doubt that this concontration of intereet in antiquarinn 
Foaearch is responsiblo for the nmeit serious objections whicb have bc«n 
id still are urged agninst tho ultimate valuu of the comparative method 

lilenir}' study. In the first place, it is certainly tnie that some 
critics have gono to their task as a bookseller goes to his Brunot or 
Lowndes, or ax a syai-cher of title-deeds to the jmblic registers. Too 
ofWn it would appear that, in the tracing of the influence of a book, 
literarj' genius goes for nothing, and writere urn no better than mediasval 
copyists. We have beautiful tables of cWcent, as rigid, but not so 
convincing, as the spidtT-webs of a 'foreword' un Chaucer Mss.; 
caiine and effect resting upon a risky date or some unsworn memoir; 
not a suspicion that the direct influence of one book upon another 
has been generally of the slightest. Hence the ordinary man of 
lilerur^' taste susjiecbs the comparative expert Secondly, a literary 
Cunily-tree, even if correct, allows small scope for enthnsiaaoi, tor 
individual ajipreciation, or for critical audacity. 'i*hi> hi.storian thinks 
of his author as an academic naturalist does of his orders ajid types. 
He hflfl no pets ; above all. if he would bi; aometliing of a critic, he is no 
gportemaxi. He is looked upon as the irreconcilable enemy of the 
ioDjireaHioiUBt, who hate« iha law of primogeniture. Thirdly, the com- 
{nmtive specialist delights overmuch in the lower leveU of literatnre: 
ho will linger, for examplL-, in the 'dull ' fifteenth ccntui^* or in the 
'bankrupt' eighteenth, so that, free from thr^ dazzle nf geniiia, he 
nuky the b«tt<;r expound and ' provi; ' the tnulitiim of fonn and vtoH/. 
It would be easy to meet these objections. They are stated merely 
to show that, however exaggerated (hey itmy bi;, they have n wrtain 
measare of excuse as an ' impressionist ' estimate of the narrow puri>9t)e 
of the exponents of the comparative method. There ia not a Uttlo 
lo^c on the side of the obJL'ctors, for it may be a-sked how can & 
luvtbod which is oxclu»ively concerned in nbucrviug and clossifyug^ 
tfaoee things which arc known to bv related to each other obtain any 
'eriticffll' results beyond what the mere ntatiAtician hns the right to 
expMt T Hence it is that those ^f ho have a sincere delight in literature 
for iu own sake, or those critics who have a mission to the wayward 
taste of the reading mob, look upon 'Comparative Liternture' in all its 
parta as the provittco of the antiquary or of the dilettante who affects 
ibfXiign tongues. 

The situation however is entirely altered when we recogniee, as wo 
DOW mu^t. that th«»e stndicit in the evniiitinn of certain book-habitu are 
only «Bniali (jurt of tho function nf ' Cumpanitive Literature.' If inatead 

I— a 



4 Sovie Notes on the Companxtive Study of Liter<Uure 

of the connexion between individual books or phases we subaUtute tho 
oonucxiou and dcvclopmuiil of critical ideas, wc- have at unce greater 
posBibilities for the compAmtive student. If we call this second brfinch 
— and here again wc an: in diatnsss for -wont of u butter name— the 
'critical,' we mean thereby that it is concerned with fundamental 
dootrinca of criticiflm, jiiat aa f.he flii-called ' historical ' group is con- 
cerned with the main facts in the • social ' hietory of individual works. 
It deals with the intricate problems in the bistot)' of the dogmas of 
criticism, it examines the phases ol inKraction and parallelism, and as 
a consequence, na logical ns apparent, supplies some practical guidance 
in the interpretation of iniKkrn work find in the ever^'day exercise of 
litemr^" toRte. 

It is indeed strange that criticism, as a technical and acAdemie 
matter per se, should be so persistently excluded li-om the comparative 
Jaburatorr. There is evidence now, that the younger schools of eritics 
are being attracted, but they are as yet few when taken with the 
bulk of .avowed 'cotuiwirative' Ktudentx. Even in a jmifewiional e^mgress 
such as that »t Paris how many of the members of the literary sectioD 
wer<; inliTt-Bted iu tilings of (ItcjitT iin[>«»rl than the iniluciire of Italy 
on Uu Bellay, or of Zaire upon IIaIv i ']'here are many who would 
give the last word nn Neo-rlaasicism or on thB Quertlle with admirable 
parochial enthui<iasin : so uiaity who forget that criiicisiu is biued upon 
comparison*, anci that a geneml deduetiuti or an '1 like this' is 
valuable or not only according bo the utlvrcr'n cluitii to be heard, 
that ifl, to his breadth of view. There is no incurable antipathy 
between the iinprcteioniat and the coiujHirative critic, for {lei^unaJ 
liking, though never itself criticism, may be the moat pleasing and 
convincing of things when it comes ixom experience, 

Wc may take for granted that this extension of the comparative 
method is of first importance in the interpretation of critical doctrine. 
It is more to tho purpose to offer 8c>rae general considerations which 
arise out of this, and to ahow how the method may help us to a better 
sinderstanding of the fiinclior of litcrarj- criticism. 

In the first place, the comparative met,hud emphaaises the ftoaiiivt 



' It U partikps irorth notion that undcDoic «iiticiim wb», ib it« oirliot *ta«v», tttrictl; 
40Bipa>Btive. xbe CTidenoe ot Qiveoe &d(I Ram« it olwr «n ilii* (xiinti aad nstoauth 
mntiniji Itftly, the bUthplMe of Uie n«« Aritioiem, worked bjr tlitt method «nd pauod no 
the lesion to the n«t of lEiirape. Bnmpte aod Comparison were of oontv? fMwntJal lo 
Clii»lL-iiiui. nitU ita dooirino uf (bo Modol. tin- Anoi^uia. ito., but iliere tb» maiD purpuve 
vtw thn oolluctiun of uintiriiil Htid pr«UHl«ii(H [ui Ui« «stabli«limenL ot & tlMrarir Cauuii. 
"ihe applicAtion oi tbo Method to individual esiientiuue and effort has batin left tu the 
Uodeini. 



G. OBEtfORY SMITH 



dde of criticism — the imity of Uturoturc rather than the diffKrencw!, or, 
let us iay, the unity in the differences. It flearchee for what is common 
(not neoeaeaxily bj contact or infusion), and would help us to reach the 
fiindumuntal ideas in the hiatrory of motif and form. In the caee of the 
latter ite thesis is ont so much to exjiuse the vuricties of the formal 
presentation of auy^rvn ' topic' as to show how these expreiiH an under- 
lying common and, it raay be, ])erraiinent principle. And if we look at 
th»? riuitt«r from » slightly difierent point of view, may we not say that 
it helps the critic to find, and through him the reader to enjoy, what 
Aristotle taught ns t« nnderstjind by the Universal in literary a.rt ? For 
what is the common and continuous eleiueul which il seeku out in 
Uterattire but that tjiialiby of the Univernal which, hb distinct from 
Iiliosi.'ncntFiy, is the inspimtion nnd end of Art i Xay more, it looks for 
wliat of ihiB may be limnd in decadent agc» and fnrgotten places, where 
neither the iiiipretMiouist nor the critic with a repulHlioa deigns to 
tarry. It is jiorhaps iinoeceiisaJ^' to oommnnd the paradox of the 
uperior usefulness of the dull times in Uteniry hiutory : it may here 
to say that that method which aid^ criticism tn discover the 
elemental and positive facta at all stages of artistic effort, and especially 
in e|>ocliR of lesser popular account, is an instrument of obvious efficiency 
in reading the storj- of literarj' taste. 

In the second place, the methoti is an antidote to that mere 
Dnrwinisin which riwes stj easily, and delusively, fruui an itntiijuarian 
in[«-fi-st in letters, or from an exaggerated delight in sactititic cla^tsi- 
6catioa. It is not concerned, witli tlie statement of so-called Htemry 
'InW!*': indeed it tends to disprove the analogies which an unrL-ason- 
ably " scientific ' age borrows so readily from the Weather liureau or the 
ph^'sicid lahorat^trj'. We are helped to iindcn»tand, for example, nut 
thai rutoauticisui follows classicism like the rotation of crops, or that 
the cmr i.i a superior artistic condition to the other, or that they are 
miitnally exclusive, but ratht-r that they have so much in common, mid 
olwunt co-exist in the highest art^ Or again, not that thei'e is any 
ioterconnexiun between the various forms of the ejirly drama of the 
fiftei-ath century (an nsHiimption Ic»h true than false), hut that the 
likeness is the expression of u literary anil histrionic necessity, Or 
un, nut that the identity of and diffcnMice between the eighteenth 
lliir)' in England and the seventeenth in France are to be explained 
tm wo have been taught by the critical genealogists, but rather by the 
|NMtulate that direct borrowing did not take place except in on acei- 
dcutiU and subsidiary- way. In ether words while, on the one hand^ tlio 




6 S&me Notes on the Compai-ative Study of Literature 

narrow view of thf? comparative method takeK ct^nisance of a nubjcct 
becatute there is u certain aiHoimt of evidence of pfcciprotily, on the 
other hand, the truer approach to this particular problem will be 
■with the conviction that a grmtiT or k-«s reciprocity is not the major 
premiss, and may he quite immaterial. It is of course neces&ar>', as a 
prelinunat^- clearing of the grouod, to estimate the extent of direct 
jnteraetion: but this ie neither the whole duty nor even the chief duty 
of tho ' comparative' ' student. We may go further and risk the pro- 
position that the more intemction there ie, the less opportunity hav« we 
of r«»achin>[ the fundamental principles, not merely hecatiBe the pfive- 
and-tftke distracts us more and more towards the trimmings and 
externals, aR the history of 'Cuuijianitive Literature' too well shows, but 
because the material of observation is correspondingly rodneod. 

Again, this miathud. BUpplit<B the only philosophiad (.-xplanatioo of 
the critieal bases of the historv of literature, and of the working 
formiilie which guide the historian in his synthesis. We refer to such 
problems as are 8iigg««ted by thv ^henunienun of 'curtailment' in 
litt^i-ary form, shmvn. for example, in the fifloonth ci-ntury, in thu 
breaking up of the great romances of tho Middle Ages into ballad 
epi.HoduH and talutt of incidunt, in the huniting of the dramatic cycles, 
in the change of fashion fiioio the loug-diawu ciaftsmanship of Lefranc 
or Lydgate to the shorter style of Villon, or Santillann, or IDunbar: 
or, to take another illustration, by tho idea of ' hiHtorir^il jwrspective' 
in criticism, which occasionally amused the sixteenth century, inU?n>sted 
the seventeenth, and became a convention of the Liter eighteenth. 
These and a do/on other marching rjnestions suggested in general ternts 
by Aristotle, Longinus, or Dante, and In more paiiicular form in the 
critical wisdom of Dryden or Johnson, are the proper concern of 
'Comparative Literature' in its widest acceptation. Till these things 
are well considered, if not satisfactorily solved, the literarj- historian 
will remain an empiric, concluding bravely by the 'cobweb-law' of 
chronology'. 

Lastly, the method emphasises the literary qualities of a work. 
It has been justly charged against the narrower criticism that it its 
apt to forget the ' literature ' of a book in the interest in itB genesis 
and hi»t;ory. This ia still more true of om- work-ti-day judgments 
and wf the exercise of popular taate generally, where in nine casea 
out of ten wc admire the non-Utorary elements which umsqueradc 
in the name of art. We need not search long, even among the more 

' Drjdcn, liedittUioti afthe .Etteit, 



(i. GRKGORY SMITH 



reputable 'appreciations' of inodern lilemture, tu Bnd how much the 
prejudices of history, society, religion, or race have defined the pleasure 
of a work, aud make it a ' musterpicce.* Even when the critic hits 
wilh all honesty divorcnl himself from persotiQl liking and disliking, 
irhen be snys, ' I hate A, but A's book is clever and useful, and 1 shall 
say Ml.' it is not SL'^ldum because his victim bus tjuictly mnde his pBace 
with him by a common interest in something altogether uutaide the 
caieguries of lettens. The prejudice is »» prnttmn, sn subtle — Hhall we 
t>ay eij incurable? — 'that any method which can alleviate it ia of immense 
vulue. Uteraturc is perhaps in this re»p<^ct in wor^e plight than 
pictorial art. There aru fewer pic t tire- gaaers in our oxUibilions who 
delight in canvasses because they are portraits of their heroes or of the 
village puiii|> of their boyho<»d, than Lhurc are reiwlL-ni who take kiudty 
to certain novels because they are Scots, or (^nadiaua, or Oxford 
Kationalists. And this will always b^ so, till critioisui comca with a 
wider experience, and gives to these well-meaning people a truer touch- 
•tODe of liWrary pleasure. 

Perbsps, too, this experience may mako it yet clearer that it is but 
acft<Iemic quackery to enlarge upon the absolute progression of literary 
ideas and cnUUmanahip. The notion comes naturally to the complacent 
^foism of an ago which is giddy with the triumphs of science and 
indiutria] energy. But analogy* is not proof, and Art is not a meaeure- 
■bte thing like the Standard of Comfort or the spood of locomotives. 
A mure vtfeetive cotnpariuou of ages, an well as of peoples and groups 
and individuaU, would have a whole.sotti^ inftuenco on the conde!«cension 
nf modem criticiKm. When a writer brings forward bis working formula 
that au author must be Judged by hi» agt! and circumslauue, the ^^'xcuw 
Ibr the pmtt is in reality an um-onscious compUmeut to the present. Ci^ftar 
jintiMnl the Oauls, but added that he conquered them. In the realm 
of Ideas and Art Ciwmr'ii confidence i« unavailing. The new cannot 
subjugate the old. What is a 'classic' but that which has never been 
irarpaiQed } 

It is templing, but the occasion will not allow, to enlarge on the 
bewing of this academic discu.<ision on the mom practical side of lit«;mry 
criticism. If we entei-ed on this theme we should begin by disclaiming 

intention to reform the conditions of ever^tlay reviewing, which 
U'ugh pnibably not quite so Iwul as they might be, cannot be expected 
ever to be better. But even iu these popular places the reflex influence, 
if not the direct training, of the ' comparative ' student might help to 
toaaen umbarrusduient iu the |U-cseuce of the tu.-vt, the strange, the 



8 Some Notes on the Comparative Study of Literature 

unique in literature. And, above all, it might demonstrate that the 
expert, as we know him, ^ not seldom the least competent to meddle 
with pure literature or literary taste — that the most absolute pundit 
may be but a village politician in the imperial matters of criticism. 
We may not forget that Aristotle, who is still our true specialist in 
everything, was a specialUt in nothing. 

G. Gregory Smith. 



ENGLISH TRANSLATIONS OF DANTE IN THE 
EIGHTEENTH CENTURY. 



Not from the days of Chaucer to the reign of George I. ccmld 
English litcmture boa^t of a tninslatiim, pntperly so called, of any 
portion of the Divina Cummedia. Mere incidental versimis of a lew 
Unea hcrv and then- tiuay be found, it in true, in several uf the niiiiieri>u» 
IfeninBlacions of Italian works which were issued from the prces in 
Euglaxid during the sixteenth cpntiiry'; whilo, in the nnxt ceubury, 
Uiltna, in his trealls* 0/ Refurtmiiion touchiny Church JJisvipline, tried 
hie haod At a rendering uf a tunglp trT/inn fi'om the Infeniu. But not 
till 1719, wheu the 'great Cham of UtenLlure ' was ten yeaxti old. and 
the author uf the Elniy was alrejidy out of leading-atrings, did the first 
transliition from Dantn, produceil avowedly as a traiiHlatiuu. make ita 
ftlipearance in the English wurld uf Eebtera. In that ye-nr was published 
•ftt the Black Swan in Pater-noster-mw ' a voluine entitled 'Two I)i»t- 
courses. I. An Emuy un the whole Art of Criticism as it relates to 
PaiDting. II. An Argument in bt^half of the Science of a Connniiweur. 
>th by Mr JiifJianUvn' The authL)r ^>f thi» work was Jvuatliaa 
ubardeou, the elder, portrait -painter and poetaster, who, if Horace 
Walpole (one of his aittera*) is to be boHcved. ' after his retirement from 
bosinesB, amused himself with writing a short poem, and drawing his 
own or his eon's portrait, every dayV 

In the ««com] of the two Diflcountes, of wJiich the full title, as «ct 
«itii on a separate title-page, is ' A Discourse in the Dignity, Certainty, 
PleaBun' and Ad>'antag<> of the Science of a Connoisseur,' Richardson 
intmdnoc8 « reference to the storj- of Count Ugnlino. Of this ston-, aa 
Wiug ' very Curious and vory little Known," he gives a sniumary fruni 
the Florentine History of Giovanni Vilkiii. He then continues: — 

' Si^ KngUA Tniutatlmit from Danu {FoJirtfrMth to StPntemth CftttnTieij, hjr Fuget 
ToTuWc. Ill Jannml of Ci'inpatati^* LiUratxtrf.. i. jiji. 34C — S(iC. 



' ilMluHMifl'i portiail o( Horace W&lpult t'liuw tu Ihe notscst^uti of nnil Wiild««imv«) 
fvf)i<>dumnl it) Vol. ti of )dra Pag^l Tt>yiil>w'i< oililiou of tW .' 
• AnteJoUt ../ f^iHtinf («d. 1688), Vol. it, p. »77. 



LtHert oj Heraet tl'alp^U. 



10 



Engluik Translations of Dante 



'The Poet CRrriefl the Sttiry farther than the HiHtorian could, by 

relating what iioas'd in the Prison. Thia ia Dante, who was a young 

maii when this happened, and was Ruin'H by tho Commotions of thusv 

times. He was u FloreHiim. which City, aftt-r hax-ing been long divided 

lay the Quel/, and Ohibeliivs Faction, at last became entirely Quel/: 

But this party thoii split, into two others nmier the Names of the 

Jiiartcfii, and the Neri. the Latter of which prevailing, Phmder'd, and 

Banish 'd Daute; not because he wka of thu Coabrary Party, but for 

being Neuter, and a Friend to his Coiintrey. 

WUm i'irtut fail*, and I'arlv-hfaU eadnn 
The Post »r Honour i> tAe Lmul Sccwa. 

This groat Man (in the 3%J Canto of the Ist part of his Coviedia) in 
his Passage thro' Hell, introduces Count (ftfotino knawing the fciead 
of his Treacherous and Cruel Kueiny the Ai-chbi^hop, and telling his 
own sad Story. At the apjMianumu uf Dante 
La booea ftotlouA ia\ Hero {uuto 

Richanisou then gives a translation of the passage (scvcnby-acvoii 

linta in the original) in blank verse, which, if not ver>" poetical, is at 

any rate fairly faithful — for an ago in which Dryden'a A'irgil and Pope's 

Homer were the standards of tmni^lation. Thc^ following in a specimen — 

Ugolino speaks : — 

The liuur was coiuo when Food abouW bav-e lieen brought, 

luHtMid of timt, O Uod ! I heard the noine 

Of civnkiiig LiK-ks, «iul Uolta, u-itfa douhloii forvo 

$OL!uriiij (lup iJcMtnictioii. I IwUeld 

The FiMtH or tnj' Siiiih with troubled EyoN ; 

I Look'd OK them, but utUtr'd not .1 Word : 

Nor t'ould I wee[j; Thay wept, Ant^lmo wiid 

(My little dear Anselnu>} What'n ibi matter 

K*ther, why look \-<m wj I I wept not yet, 

Nor it\takp a Wm^I that Uiiy, tior f<iU»wing Night. 

But wh^n Ihn Light of thn xiiucordiiig Mrjrn 
FAiiitly ftpixiiir'd, und I behi^ld my t>wn 
lu the four FaccB of loy Wi«tt:h«t Sons 
[ in my clenched l-'i)>t8*f)i8tj>n'd niy Teeth : 
They judging 'twjw for HungPi-. ro«* nl <iiiC6, 
Yftu Sir Ravc giv'n ti* Itning, ymi hn-v« cWth'd 
Uft with thi* niUnrahIc FWTi, 'tis yoiiru, 
SustiLiti your Self with it, the GHnf to t'li 
In lew to Djx-, ihuii thuB to Btw v'lur Wijoi. 
Tbu» spake lu.v Bojoti ; 1 like » dtatu<; thvu 
Wiut ifileut, •Still, aud uot to add to Theirs 
DouLIod tbo weight of luy Own Uiaerias. 

The next specimen ia by a literorj- hack, one Pierre Dciimaizeaux, 
the son of a French Protestant minister. — 'one of those French re- 
fugees,' says I»aac D'lsnieli uf hint. ' whom political madncM or dwtpoir 



PAGET TOYNBEE 



11 




of intolerance had driven to oar own shores. The proscription of Louis 

XrV^ nrhich supplied us with our skilful workera in silk, also produced 

a race of the unemployed, who prnvwi not to be as exquisite in llie 

handicraft of bookmaking'.' Desiuaizeaux, whom Warburtoii deecribea* 

as a 'verbose, tasteless Frenchman." was a proteg^ of Halifax and of 

AddiHon, and through the iiiterBst of the Utter obtaiued n pension, 

• lik»f his lalents, very modemte.' on the Irish cstabli»hmcnt. He 

afterwards enjoyed the double distinction of having; one of his books 

burned in Dublin by the common hangnaan, and of being elected 

a Fellow of the Royal Society. He bHcnini-' n translator of Dante by 

the merest accident. In 1735 he publishrd an Knglish edition of 

Buylu's Dictionary, in which ho undcrtuok to furnish tnuislatious of all 

' the quotations from Eminent Writers In Tarious Langimges.' In hia 

article on Dunte Bnylu (pt()t(-.H abmtt a doiton piiMMigc« from tla- Divina 

Commedia, and these Desmaizeaux htis rendered into rhymed couplete, 

in what he no doubt intt>ndud to be the style of Pope — hardly an 

approprial*: vehicle for Dante. Here is hie rendering of twelve lines 

<9l — 102) from the twenty-third canto of the Pitrgatorio: — 

Tlio widoVd Ouinnvr. who my lied did Share 
M«riUi by Virlm> Hc«vcn'« jiefuliju- Care; 
Who chiwtly Wvan uniidtt a wxntoii Rnce. 
Ijewiler Ihon iJiose Sartiiniiis Ct>mUt ftnibrnce. 
ttliat Hh&ll I aay i Haiie rise* in my Breast, 
And to my Sight the rMtuie sLuidB confeBa*d. 
1 Mev rofomi'd tbe Lisdim of the Town, 
And Piil|ntK (irvar.h mnli wiuiluti F»»hi«ii down. 

Of n very different character vt&s the author who ucxt entered the 
Bain. Thitt was tbfi poet Qray, the third on the roll of English poete', 
lo whom Diuit« was an object of ' luago studio e grandc amorc,' and 
-who undoubtedly was more intimately acquainted with the work« of 
th*" gr<«i Florentine tlum any other EngUshman of the eighteenth 
wntun,-. Gray, like Richardson, eelocted for translation the Ugolino 
episode from the thirty-third canto of the In/erm. His vemou, which 
remained in tnanngcripl for more than a hundred yean aft^r his death, 
was, like his translation from Tasso, composed probably as an exercise 
at tho time when, as he writes to hits friond, Hiohurd West (in March, 
1737), be was ' learning Italian like any dragtjn.' Mr Gossc, who first 
printed the piocc*, thinks it "extryiuely fine," and assigns it to CJmy's 
be#t peri<Ml. More sober critics rate it less highly'. As the work of 

' CmriMme* of Uirraiurr («d. leOO), Vol. m, p. 14. 

■ In*l«it*tl4il>r Dtrcb. 

* Oia pretloeowom luivinK iMca Clianoer and Milton. 

• Wwkt fj TAmwrt, Gray M. Wftl). Vol. i, pp. 157—160. 

■ Am Oniu duil l*<ntt. bj i)ia pTv«tdcnt of £[&g<la.li!n Coll«<Ke, OitOTd (Ur T. H. Warren^, 
ia Um ifmiiMjr Ut\ieyi. Jun^ I'JOI. 



12 



English Translations of Dante 



a poet and a scholar of Gray's raputAtion it miist be confc««ed that the 

performance is deoidodly disappointing. That Gray himself had no 

great opinion of the piece may be gathored from the fact that he did 

not consider it worthy of publication. The following niay be compared 

with Riohardnon's renderinji of the oame passage given above: — 

Now the H(iur 
Of Umel/ V>j*x.\ n|iproacliM ; when at tli« Gute 
Below I h«iud ttic ilruiviftU OUititi cjf Uars, 
Aad fart'niDd' Bolts: tbeu r^u luy C'bildroa^ Ejnw 
SpoccblwB taj Sigbt I lix'd, Dor wopt, for all 
Witliin wiu Stone : tboy vrept, unhappy Boys ! 
Thi:.v wv|it, itRtl Gmt U17 lituo dttar Anvdmo 
Criod, i*iitlivr, whv, whjr do you giuw so eiteniljr} 
What would vou have 't yrt YKipt I uut, or answer'^ 
All (bat whole Day, or the suocoeditiK Night 
Till H new ^un tansa with wookly (jlcam, 
Aiitl wnn, 3ucb im aiouKht Giitntnci: tittd withia 
Thut Houwj uf Wuc. fiiu o!i ! when 1 boboM 
Uy SoEia, and in Cmir Fiioui tmw my own 
Deepoir reKectetl, cither HfirKl I giiaw'd 
For Anguish, which they coiiBtrual Hunger; strnigbb 
ArifleiTig aJI tho)^ cried, fnr Ictw nhalt bo 
Our Siiffcring, Sir, if yow nwumc your Gift ; 
ThtMW iiiiiiomhlo Ltnilxi with ntmh you c]ii»tb\l ; 
I'ake i-fliCic what uii<:« watt yotim I ■indlow'd down 
My !4tni^ting Sorrow, not to heighten theira. 

An in terojiting experiment in Dante translation was pnhliithed 
anonyriKHisly in 1746. in Robert Dotlslay'B Mttseum: Or, The Lileruiy 
and HisioricAil Register, in the shn.pe of ' The Three First Stajuiu 0/ 
tJie 24th Canto of Dante's Iiif4.>nia [«ic] vioAe into a Song, In imiUition 
of the Earl 0/ Surry's Stile':— 

I. 
Vilieii iu the o))eiiiiig of the youthf\il Vear, 

■So/ in Atfiiartus Ijiithes hia ^liHtoring Bay ; 
In tnrly Mum the Fieldx ull white sppotir. 
With li<wir>- Frtitit is a>vcr'd every Syny : 
Aiid PiTsry HitIi nml nvcry Qnias in slienl. 
All in itic OhilL Tni|)n.icnititciiil yixsnU 

11. 

Tho inoati-dAd Swiiiii, Torth JBSiiiiig from hin (W>t, 

LiM>l(M Hiully iiH uroiiiul tho whitpniiiK Witato ; 
And yrii'Vfci thnt his jNJor ShM>|i, Ly HwiVL'ti forgot, 
Can find no Fimd, ii« leudor CJreeii lo taata : 
Ho beats hi»i Breiut nn ono distract, or mad ; 
And borne returne, witli (HniHtve Look and wid. 

IIL 
Th«<ro »ilcnt CTinvn*. Then oneo Again looln out, 

And fiMMi tltt' IJnivai ami ilM^ quite ftlttt'd &!& 
Tho Sun hae cnni bia molting Efcys about, 
And every tlreon fiiipears tnore fresh »nd feir. 
Tboii Uupo retumn, And Joy lUiknitA hi« Brow», 
Aud forth he le^da bi« Klock tto t«ndor Orniw to brouu:. 



PAGUT TOYNBEB 



13 



IV. 

Thvi wli«u my Fair Oac views me with Diadain, 

3It Heart ia sunk within too. Bad and dotul ; 
Ut SpiritB jield, aod all my Sc\iV» in Vnm ; 
1 ait aiHJ sigh, and bang niv driiii|)ing Hmd : 
But if sbo wuilv, lur Sadnon iiiolln awny, 
Each glootny Thought oIcutb up, anJ ['ui all liIitEte and gaj. 

Whatever may be thouj^ht of ht<i choice of a metre, it must be 
(ulmitted that the unknown luiihor of these jjtaeeful staiizau has very 
suowfisfully caught the Hpirit uf the nriginnl; while hix tninsUitiim, all 
thtogB eoDsideTed, is ri'iuarkably t-'losu — the HubBiiiutiun of his ' Fair 
One' for Dnnte's Vir;gil is pa«lnnable under the citviimstanceH. The 
suawBS of this experiment might fairly, we think, he uned as a frosh 
argiimont in fnvmir of the adoption cif some form of ntanza for the 
translation of the Divina Cvmviedia into English'. Terza rinia appears 
to be out of the question nn nn English metre, nt any rate for the 
purpcees of iranslaliun. Nu Englisli writer, save une or two of oiir 
rliPT poets, — not even Shelley, nor Byron — has shown him.self to be 
illy at home in the handling of this metre'. Ci)njtequeMtly. if the 
'Th^Tne of the original ia to be represented at all. as it. assuredly should 
be. some such expedient a» the »bnve would .tei'm Uj be the best way 
out of the difficulty. 

The Hev. Joseph Warton. then rerently appointed M^cuaid master of 
Winchester College, who next tried his band at Dante, solved the 
pntbluu) in hi» own way, by taking refuge in pnisir. In that ' verj' 
pleasing book,' as Dr Johnson styled it*, the Esgay on tfi€ Oenina and 
Writinps of Pope, the first volume of which was published in 1756, 
Warton instanoe-s the storj- of Ugotino, as told by Dante, In suppfirt of 
bitt contention thot'evcntH that have actually happened, are, after all, 
[the properest subjects for poetry." For the benefit of those of his 

Jcre who should not be aapiainttHl with Italian, he supplies a version 
of the story in his own wnnlai. 'I cannot rt-follect.' he myti. 'any 
paHsagc, in any writer whatever, so triily pathetic'; and, to make sure 
that none of the pnthoa nhnll he missed, he adds : ' It was thought not 
unproju-r to distinguish the more moving passages by Italic*' He then 
pntcueds : — 

' Ogolino ifi giving the dc«cription of his being imprisoned with his 

) That Osnw ma/ he auooeifefulljr reiiditraiil iu tliin way ii provad Inr the aduiiraUlu 

■ion of llie /^rpntun'o in Marvnllian ■tikni'.Ni [luliliHliei] a (t'w years taok tiy Olmrlva 

lalot Shadvell: — Tlt< Purgatarg of I>a.Mt Alighieri. An Eiperiment in Literal Vert 

■ Some nuy bo iiwlinDd to makv ad oxooptiau iu favour ttl the lat« Oanon Dixon'a 
JfMW, vklch In, periiA|Hi. Ihu fnoat ineccuful ntunipt of the kiud. 
• Sm Botwnir* ti/e a) Johtunu (Gloln nd. im'J. p. I.t3). 



14 



Bngluh Translations of Dante 



ehildren bjr the Archbubop Raggieri. 'Tb« hoar spproAched when w« 
expected to hare socMthing broaght na to eaL Bat, tnst«ad of seeing 
aaj food appear, / heard the dnara of that honrihU dumfftoa mart dottiy 
bmred. I beheld my Utile chitdreo in giUmc*, and ooald not weep. 
Mjr heart wm petrilicd ! The little wretcbes wept ; and my de&r 
Aiuelni laid. Father, you look on va! what aitt j/ou t I could neither 
weep nor answer, and continued swallnn-ed up in nlent agony all that 
day. awl tht^ foltuwing night, even till the dawn of day. Ae soon hm. 
a glimmering ray darted through the doleftil prison, that I could view 
again thote/our fac*m, in which mif oum imaiie was impressed, I (ftuttved 
both my hands with grief and mge. My children believing I did ihin 
throagfa eagemen to eat, raiiting tbem.'«tve» suddenly up. sai<l to me, 
ily faihsT ! o«r tomwnts would h« less, if you would allaf/ the ruge of 
ffottr hunger upon us. I restrained mynelf, that I might not encrease 
their miaeiy...."' 

It i«i a relief to tnm from this truly pedestrian pi?rfnnnance to 
another anonymous specimen, which appeared in the BritCtlt Magasine, 
or Montidy fispogiiori/ for Gentlemen and Ladies, for the year 1760. 
The author is suppceed to have been William Huggins, the translator 
of Ariosto, 8on of a nohinous Wurduii of the Fleet Pritwn. A dispute 
between Huggina and Thouiaa Warton, Professor of Poelij- at Oxford, 
concerning Ariosto, gave occasion to one of Dr Johnson's caustic 
remarka. 'Huggtm,' rclabcti Buswell', 'abtemptiug to answer with 
violence Mr Warton 's account of Ariosto, said, " I will miiitate Do longer 
against his nescience." Huggins was maater of the .subject, but wanted 
expression. Mr Warton's knowledge of it was then impcrfwrt, but his 
maimtT lively and elegant. Johnson said, " It appears to me. that 
HuggiiiH hiu ball without powder, and Warton powdcT without ball.*" 
The passage translated by Huggins is Dante's paraphnieie of the Lord's 
Prayer, at the beginning of the eleventh canto of the Purgatorit}. 
Huggins. who evidently piqued himaell'on the faitlifulnessof his version, 
auoDueded in rcntkring the original line for line — a rare achievement 
in an eighteenth centuiy translator. 

Dnnte, II PiirKaturio 

Canto U 

Siait m«fMi mm. 

As literally as pomible. 

Our Father blest, who art in Ilcnv'n nbovo^ 
Not ciFCUmscrib'd ; hut tlin>' conBummnte lore, 

' Li/eo/JohiuoniO[tibetid. 1HV9, pp. £38— 9). 



PAGET TOYNUEK 



]& 



Wbicb to th<wa urinial oMinxMA vou >xiai>, 
1117 iwnae l>e hullowd ; thy [wiTer rare, 
By flrVv crwtuw : «* it in hut m«ct. 
All tlwiila bo rendoi'd to thy effiuMOO swwrt : 

Adv&uce to iw thu peace of thy wbib'd tvlgn, ^ 
Aa, at oantlwei, b> tluit '"*•. viui'l atUiii, V > 

If it cntum not, with nil i:iur i-kill himianc J 

As, in tbo bc*v'iii!, thy uiigeln •>{ tbi-ir will 1 
MaIw twcriticc, ntitl niiiK HoMiiiiin still, > 

So, mny ou u&rtli, tuAuuiid iby luw fulfil. J 

0»r daily nuuitix give Ui lut lliiH dity, \ 

Without it, thro' thi* wild ami th'iniy w&v, V 

Who RtriviM to tnLvnl, will more l>a<c3cwar<f stray. J 

Aud, like aa wa thotK wrooge, wbiufa w« nx»ire. 
In otlivn inrdon, ho thy |>n.ni(H) give 
Bcnigtiaiit: txir toirvnj niir luurit nuiiill, 
AtkI fivtile vu-lut^ Ml {>n>iiojise to TaU, 
Riiffr.r rnjl imr old enemy to t«mi>t ; 
But from his jkunctiiroB keep us siitl ciompL 

William Huggin* has been soracwhiit unkindly treated by the faWe. 
in the [DAtt«r of Dante. At hia death he left in manuscnpt a complete 
tnuislation of the Divitta Commedia {of which the above is guppnued to 
bd ft spcdmcQ). with directions that it should be published. A clnutw 
ill his will' rana as follows:— 'I give to ray Worthy Friend the • 
Kevd. Mr Thoinas Monkhousc, Fellow of Queen's College, Oxou., the 
Sum of Fifty pounds on condition, and with futl persuasion that he wilt, 
tv the beat of his nbilitios. superintend an edition of the Dnnte, and 
Anootntiuns, with all iiiatt^re thereto belonging, lately tmnslalt-d and 
compiled by me, in manner and form as ho shall judge beet, the expenses 
of the Printing and publication, and all charges relative thereto to he 
paid hy my Executore.' He also had his portrait painted and engraved 
by Hogarth* (whose friend and patron he wa«), with the names of 
Dante and Ario«to in the hackground, to serve as a frontispiece to his 
ne. Hogarth's portrait of Huggine is still in the poAsession of his 
lily ; but his wishc-s with respoot to his Dante seem to haw been 
wholly disregarded by his executors {who were his sons-in-law, and 
inh<'ril'-d his eat«te«fK-ftt any rate the tmnHlfition wa3 never puhlished, 
lUiil Huggina has thus been deprived of the credit of having been the 
fit^t to make a complete Kngliiih tmn»Iation of the IHvina Conimedia, — 
a dJMtinetion whieh i^i commonly claimed on behalf of the Kev. Henry 
B^'yl, whose vereion was not published till more than forty years after 
Uuggins' death. 

' KlDill? »a|>pttml bTooeof hU ilsfloeDdBnt*. 

■ Aeeaidlftii lo WillUm titeworl Bom' (ItaroduelioH to OtUtndo Fwiota) HogRiiw in tl>* 
twnMi wba Agurw in Hupitk** picturo u th« £niimi>d UuucisD. 



16 



English Trajislations of Dante 



Wb now ratiim once more to ihe Ugolino episode, of which jret 

«aOther version appeared in 1773. This was "by Frederick Howard, 

fifth I'jirl of Carlisle, ci'devant gamester and boon companion of Charlea 

Janies Fox — ht-al ktiown Co faiiie. perhaps, as the kinsTnan and guardian 

of Lord Byron, who dedicated to him the second edition of his Hourt 

of Idleness, and afterward* savagely l-iinjjooned him. in EnytiiJi Bards 

and tJcotck Heviewerg-. — 

Nn iim.ic will cbccr, witli rcDo^-atiog nuUe, 

Tli« jmmlytic piitiitj; itf Carlwle. 

Tlifc |i»niy .ichiKillioj itnil hiH ewljr laj 

Men )iaj-(Ioii, ir !)iH follien ]iami av&r ; 

But wlio forgivtia the senior^ ceaoeleai rerse, 

Wliijsa liaira grow \\oa.Ty an his rh)in«s grow wone! 

Lord Cfli'lislc, the produelioiis of whose muse, whatever Byron may 
have chosen to think of them — he owneil later' that he had done his 
kinsman " eume wrong '—earned the pniiso of two such difforently 
constituted critics ns Dr Johnson* and Horace '\Val[^(^Il^ printed his 
translation privately in the first iustauce in 1772. Walpole, writing to 
William Mamm from Strawberry Hill on May ^b of that year, says:— 

■ Loixl Carlisle hax written and printed some copiea of an Ode on 
Omy's d^th. There la a real spirit of [metry in it, hnt no invention; 
for it is only a description of Gray's descriptions. There are also two 
epitaphs on Lady Carlisle's Dog, not hoA, and a inuislation from Dante 
of the story of Count DgoUno, which I like the leiwt of the four pieces.' 

Thi-N vulunie, which itf a slim quarto of seventeen pages, was not 

published till the next year, when the Ugolino was also separately 

jirintud m the Gentlemans Mugnzine. The following is a specimen of 

the translation, which is in rhymed eoupieta.arid anything but literal : — 

Through the sinall ujioniii^ up llti! {iri^ia's httighi 

One niuun hod alniiHti itjjeiit itn wiutiinj; ti^tit. 

It wiiH wlicii Hteep had charui'tl itiy carea to rest, 

Ai«l wiwriwl (Jriflf lay ilozirig in my breast : 

Futiirily'it iliirk vitil tvii» dniwii jUiiilu, 

I ill my drejiiii tlio ti\ml)li«l [irtmiictrt <ivod. 

On thoBS lii([h liilK it noeiti'il, (thuiHi! hilU wliidi hide 

PiBs fniiti Luccii,) t)iat, hv Simuoiid's Htde, 

IJIuliUKi ittxl Ijaiiafr^iiic, with discordant cry, 

Rnuw? from iU tlun a wolf and young, who fly 

Btifor*! tl)»ir fitniiHli'd dngw ; I saw tbo sire 

And little tret»blins ^oiing onn* tnirA A.nd tiro, 

Saw tbcut booomc tnn cnger Wocxl-hfuindit' prej", 

Who ao-jn with savage r^ge their liiMtiiohea fUy. 

I timt (iw<blre, and view'd my slumbering boys, 

Poor haplfum product of my nuptiaj jny*. 

Scar'd with thfir drcama, t(T#* o'er their atony bod, 

And starting Hormiii with fright-ful iioinri for bnwd. 

> In tho tliird eanto of Childe HauiJA. 

■ Sw Boaweira Uft o/Johnim {Olnbe «d. lsS9, ]ip, ST«, ftltl^SO]. 



PAGET TOYNBSB 



17 



A second prose version of thia now hackneyed cpiBude was 
publiohod in 17H1, in the third volume of Thomas Warton's History 
L^ English Poetry. It was evidently based upon that of hia brotb«r, 
^Joeeph Wftptoii, alR-ody quutod, and i«, if possible, even more banal. 
The introductory paragra])h contains one gem which ia worth repro- 
ducing:— 'The poet wandering through the depths of hell, sees 
two of the Damned gnawing the sculls of each other, which was 
their daily food I' Thomna Wnrton also nttcmptod n voraion of the 
inscription over the gate of Hell, in the third canto of the Inferno, 
in which, owing to a mistnmslatiou, he bus perpetrated a ' bull ' of 
the first order: — 

' By Tn** is ihe way to the woeful city. By me ie the way to the 
eternal pains. By rue is the way to thn damned race. My mighty 
roakcp w»8 di\nne Justice and Power, tho Supreme Wisdom, and the 
FSrst Love. Before rae nothing was created. If not eternal, I shall 
[.etemally remain (:>. Put. away all hi>p(', y^ that enter'.' 

The next »ptjcimen ha* a special intercut of its own, as being the 
first attempt in English to translate Pante in the metre of the original'. 
Tho author of this experiment wan William Hnyley, of whom Southey 
said that ' everything a^Hmt that man iH goixJ except his |)oetry.' His 
tranfllatiou. which consists of the first three cantos of the Inferno, waa 
published in 1782, among the notes tn the third Epistle of his Efsntf 
OH Epic Pueiry. In bis inltDd uet^iry rwuiark>i Hayley says: — 

• We have aevenU versions of the celebnited story of Ugolino; but 
J believe no entire canto of Dante has hitherto appeared in our 
langTiage .. . The Author flatters himself that the ensuing portion of 
a et>U*hmted |>uem may afford some pleasure fn>m its novelty, as he has 
enduavoutvd to give the English reiuler an idea of Dante's peculiar 
numner, by adopting his triple rliyine, aud he dot* not recollect that 
thia mode of veniifieation has ever appeared bofore in our language : it 
had vbliged him, of course, to make the number of ti-anslated lines 
eorrofipond exactly with those of the original.' 

In claiming to have been the first to adopt the ' triple rhyme ' in 
EnglLth poetry Hayley shows himself ignorant of the fact that Chaucer, 
Wyatt. Surrey, and Milton all wrote English jMenis in terza riata — 
tbough not all in imitation of Dante*. 

' E.1.1W4. Vol. I*. i..e3. .^„. , . 

■ Wiib (Ik ticcption of llio fiTfit Ibtec linca of the lo/frna imnsliUHl by Hir Jolm 
HKriniltOD in thr Alifforie of tht FoartH Uankf o( liiu Oriantlo h'urioM. 

s WystI taA Snrrof borroirail ibe metre froin A]«mBiuii niUiar Ibao Iiom Dante. 



\ttion8 of thnyte 

: xi part of the tbird canto : — 

.>«t* «•, vtth a •hrirsird akin, 
T-ttnrr-- vtMis hi* cra^ Lttri^ 
M^ • Wm Ui «U ^e MMis 0^ Kb ! 
4 tw hMv«B, Hur light's cdectUl h^kA: ! 

,. .v4Ml«^ f«alin, «lth MwIIvffi honor d^rk : 
.J^ tfvK *^> Iivitig view'kt thi.« mciwI spot, 
"'tfciill K' li^iuirt fram th«K, (or tbe«« am dtad I ' 
lh<« «hwii lia MW that 1 dcpttted ooC, 

^«r«tK he ory'd, ' Thro' other mmm led, 
Iv-t hM«, shftli tbon fttlMupt ibe fArtli«r dwmt 
TtUS III M bivrk to liciir thy fimiBj- trwd." — 
O t.t)M\>ii, iuii<l Utr Cuidc, th_r strife giv« n/mti 
Km thuB 'tiH willed in thAt nupcnor ■oen* 
WltM^ will b imirer. 8c«k tli<>u to know no ingnl— 
* « * « 

i'4i(ir<.'>ii, with oire* «f fire toA words of g«U, 

CoUectH hilt etww, Ami high hi* oau- he wialda^ 

To etrike U>« taidy nratch vbo >liglit» IlIb cklL 
A* Juvai in auUiiuii thro' U>e woody ScUe 

tly ill suooeacdou, wbca escfa tmaUtiig tnc 

Ita UnK'ling hooora U) th« whirlviixl vieJda : 
Bo tbia DM rftce, condema'd bj UesveuS decree, 

8uooDnT« basUu from tfaat rircr's eide : 

An tnido, vhi«h at a call to booda^ fl«e^ 
Ho an Ihej wafUsd o'er tho ^oomy tide ; 

And ere fniiD thence their joujim:; in bc^un, 

A eeonnd crew awaita their boatj ^ide. — 

In tho same year (17K2) n.'* Hnyley published this ezperimeDt. 
whicb IB by no meoiis without merit, thero appeared in the second 
volniriu of Dr CfaarW Biimey's History of Ma»ic a reoderiog of about 
Lhirly lines of the second canto of the Purgatano. It is introduced 
(i propos i)f a mention of the musician Casella, ' whom Dante feigns to 
huv« met in Ptir;gatoi^'.' ' There is somethiDg,' says Or Buniey, ' iu the 
dcHcriptiun of this imaginary rencontre so simple and afi'ectionate, that 
X caoDOt help wiahiug to convey an idfa of it to the English reader :^ — 

On mc when firat thorn spirita fii tli«ir cyos 
Thcj all regard mc with a wild nnrprvio, 
Almoat furgcttiiiij that their tiiiiH rtt|uire 
The purging tetnedr i>f jidial Atv : 
When one of tlieae udvanc'd with oager pace. 
And oiteD arms, u me ho would embrace; 
At HigDt of which I felt mvsolf iiii(icll'd 
To imitate i-ach geatuio I beheld. 
But vain, alan '. wmn every eBTort made. 
My <liH)iii{Miitite(t arnie embrace a shade: 
Thrice did vaoiity my graap elude. 
Vet atill the friendly phaDtnm I punnied. 
My wild aKtoDishment with nmitinjs fnot 
The apectre saw, nml chid my fniitlesa cfaace 



PAGET TOYNBEE 



19 



* 



The votoe And fona, now known, my fbar ruk|Wii(1, 

»t»y, cri«d I, one mdinciit with thj frimd! 
K<> KLiit »f thinv ix vain, Lite vixion aukid, 

1 lov'd thee liviuc, hiuI 1 love thee dead. 
But wlieDoe this nasteF— Not long allowed to stay, 
Back to the world thy Unnte tsketi bis w&y. 
V'«t let this dieting hour onv liooo obtnin 
If iifi iiew Uwjt thy tiiTiofiil jiiiwrn rmitniin, 
Souio KoiiL' pri'doiiiiiiaiit i>\t ^rii-r itiiil woo 
Aji oik'i! tlioii ttuiig'itl nliove, txiw niiik helnn ; 
So shall ruv sou! rftloasd from Hire aisinfty 
OVpcwme the borpoi* of this dreadful way. 
Ca8t>!!fi kindly dmgn'd hiH voice Ut raise, 
And 6iit)g how J„i>m /A* Auman botrntn mmj^it, 
In Mtr»itiN mi cicqtilMitoly Hwoet and I'lciir, 
The Kouid Mill vibrntMi on my nivJHh'd ear; 
The ilMdovy trooi», Diutic, hstcuing rouud. 
Forgot the past and fiiUiro in the sound.' 

Thi* was not l^r Bunie/s firet attempt at translating Dante. It is 
recorded by Kfadftme d'Arblay. in her Memoirs of Dr Bnrne\j'-, that 
aftur the deatli of his first wife in 1761, hur father, to distract his griet 
madf! a prose trntiHlation of the Tnferw. Thi.'i tmnnlation, which has 
never been printed, was still in existence in 1832, when Madaiaa 
d'Arhlay, then in her 80th yftar, published the Memoirs. 

' During the period of this irrepamblie earthly blast,' she writes, in 
the 'broken Johnsoneie,' as Macaulay describuH it, into which she 
degenerated towani?; 'the close of her life. ' ^Ir Bnmey hail rroonrse to the 
works of DAot«. which, ere long, beguilwl from him some attention... 
A BeduluoM, yet energetic, though prone Irantitation of the Inferno, 
renuiDs junongst his posthumous relics, to demonstrate the sincere 
atraggle« with which, even amidst this overwhelming calamity, he 
strove to oombat that most dangerously cunstiiuing of all canker-worms 
upon life and rirtiie, utter inertness.' 

The year 1782 is remarkable in the annals of English Dante 
litemtiirc, as having seen the publication, not only of Hayley's experi- 
ment in term riwui, and of Dr Biiniey's veniion of the Casella episode, 
but olao of the first complete English translation of the Inferno. This 
inmslation. which wub dedicatLHi to Sir Edward Wulpole, elder hrothiT 
uf Horace Walpole. was issued anonymously, but the author is known 
to havrr befiu Charles Rogers, Princi[Nil Officer of the CnstomB, a Fellow 
of the Roj-al Society, and an art collfjctor and virtuoso of considerable 
repute. Rogers' veraiun, which is in blank >'eme, ia a very poor 
perfoniaancc. It is claimwi on his behalf that " he chiefly attended 
to giving the sense of biu author with fidelity; the character of a Puot 



' Vol. I, [ip. 160 fl. 



a— 3 



so 



English Tratislaticms of Dante 



not seeming to havo been the object or hk ambition'.' But hia 
translatioo, while entirely devoid of any spark of poetry, has not even 
the merit of being taithfii), as the subjoined spocimpn, from the fifth 
canto of the Inferno {11. 88 — 108), wiU shuw. Fmnceseii apeaks: — 

morUl Mitn replete with (5nw(i diviuc. 
Who in thi^ iLxiint E^i^i-iin vinit us 
Tlia.t liiivi! ileiilni wilTi inir Mood the world, 
If bj the uiiivonoJ KiiiK we were 
BefriendcJ, "e would lo him for you. praf : 
Since yoa commia'rata our unhappy lot^ 
We're rwidy to rejil; lo what ynii luk ; 
Now tliKt till* wiitd in Ktill Ut fnvKiir uk. 
Tlie IjitTK) wlinr« I wum Uini in on t)ie tthorA 
Plac'ii, wlien* tlm Po iiiiii All hi» rivukU 
Run with thoir tributwi .smcfothlj' to the sea. 
Love, which puiaseaties aoou a courteoiu bnuuit, 
Meix'd on tuy handfeomo PArKmoiir, whiwd lorn 

1 yet knicnt, refl«ctiDg nti thu lu-t: 
lAivv, whiuli will fdwuyn U; by ]<m> rvjiaid, 
C'lLtui'd i»a> to Diat gnutt ]>U!aNure in him tt^ke, 
Wliioh Mtill poHAOMaafl mo, as you jwrceive. 
Love brought us both to th« like fatal end : 
But CaioK hiai aipeuts who did tLi« deed. 

In 1785, three years after the appearance of Rogers' volume, there 
was published in Dublin a second translation of the In/emo. The 
autJior wae an Irish clerg^-niftn, the Rev. Henry Boyd, who acvcntoon 
yeare later published in London a translation of the whole of the 
Com^nedia — the first complete English version to see the light. Boj-d's 
work, whiL'h ia writtuii in six-liuo utauzas, ix not so much a translation 
as a paraphrase, in which it is often difficult to recognize Dante at all. 
His methotl, however, seems ou the whole lo have been acceptable to 
the critics, one of whom' speaks approvingly of hia way nf • diluting the 
scanty expressioua of his author into pmrepieuous and flowing diction '; 
■while another' remarks that ' the dulness of Dante is often enlivened by 
Mr Boyd with profuiw uriiameuts of hiB uwu, by which he is rather 
elevated than degraded.' The following is Boyd'.s rendering of the 
famous [HtRsnge in the twenty-sixth ciuito of the In/emo, in which 
UlyuseE relates the manner of his death ; — 

Te wund'riug Sluidcn ! Aun-fait' aon Iwbold, 
Who Idt the lov'd Ciraeau how*!* of old. 

Ere good jSnean blcas'd Caula'i alioro ! 
Yet, after all my toila, nor aged aire, 
Hor aon, nor spouse, cauM chook tb« wild dmire 

Again to t«mpt the mo, with vent'rotia oar. 

> Sea Nieholi' IMrrary Antednttt, iii, p]). !I66 — 7. 
» In the Mmthly H/vUw. Mnich, IB05. 
" In the Critieoi K<in«u, Maioli, 180a. 



PAGET TOYSBEE 



21 



III voiuvb of fnu)^ 1 ractLtfur'd TAnoiifi clUaos, 
Still vtn'd ill di>cj>«r fmtJn iitid iiADielaiiH oriinea. 

With aleoder bund, lUid sulitar}- aail, 
I circled round tha Cellihvriitn etrfind : 
1 a«w the Sardiun clitTe, ifvrocoo's laud, 

And iHuw'd Alciiitt' ittraiU with sttvidy guto. 
The hruad Atlniitii; Gnt lu}- keel imprPHsd. 
I Mw tbu itiiikiiig li^vrriun i>r the wi.««t. 

And hijldly thiiH luklnwi'd my tinrd^' crew : 
' While yen voar blond b vum, tii; giillaat train, 
Eiiilorc wicti nifl the perils of the utniii. 

And &nd new worlds unknown to mortaJ view. 

ReoftU >our gloiiouii tuili<, rnur lofty birth. 
Nor MVe the srovling henw, tillyM to ejirth, 

Ta' base dea)>oiideiiL-e iiuit yuur lufty claim.' 
They heard, and thro' tb' iiiieon()uerabIc band 
My potent word* thn living ardor fnnu'd. 

And instant braath'd &raund the fcn'cut Hitioe. 
With nwMur'd stroko the whit'ning wirgu th(7 xwoftp, 
Till cv'tv well -fell own itt«r U'licftth the deep 

Deelin'd hi* rodiiuit h«id ; and o'er the sky 
A b«ainy xquiidron nM>«, of anmt unknown, 
Antarctic gloriw deck'd th« biuniuK zone 

Of ni^lit, nod southern Gre« Milute the ey«. 
Now Ave Bucceaaive mriotiH with bnrrow'd tight 
ILid aiUer'd o'er the Milier tux of night, 

Siut.'e first ttie western surge ncav'd our prow ; 
At l«u^^ a distAut isle was smii to rim, 
Obscure at firat, and mingling with tht> ttkies, 

Till nearer hmii, its Mhurc"^ bc-jjaii tij gruw. 
A maunt&in. rune atibliiua abuvo the i:iiitKt, 
IiiiiiMaBiu»bly tall, in vapoun Iciat -, 

Wbcre hvurioanos for orcr howl around, 
Cuni'd be the da^ 1 tww thi.- diMiinl shore ! 
Accumt tbti reiuiins mil nncl fiiithl<vu nfirl 

And L-iiiVd myself thiit jwujn'd the tiitat Ixiiitul ! 
TniQihUng I itaw tbi> Hoav'n uontmiMtiuii'd bliutt 
The canvAM tnur, and bend the gmnning niAst ; 

Id vajn we loil'ii tho niiii to prevoat : 
Thrioe mniid and r>>uii(l th« fiyund'ring vosacl ridda. 
The OLi'ning plnnk recelt'd the nwhing tides, 

And n>e And miii« lo quick {xirditinn Mmt ! 

The last, and, in some respectB, pcrhftpa, the most characteristic 
English tratixlatioQ fruiii Dnritv in Ihc- cij^hteeiith century consisted of 
a rwndi'ring in blank vers*.- of the rttnry of Paold nnd Francosai, from 
the fifth canto uf thu fu/erno, which was ac-coinpftnied by yet anuth«r 
Teraioo (the itlxth, an a Rppamte pipce) of the Ugolino episode. The 
aathor was tho cccfotriu virluimo, U«iiry Constjuiliue Jennings, bttttr 
fco'ivm iw ■ Xi*)g Jennings," from n Rtmoim antique marble dog, which 
be discovered an<l botiglit in Rome fur a trifle, and afterwards sold at 
Chrimie's fur s thouttaud guineas'. Thei«e translations, which appear 

' Prin(«d 'Xfl.' 

■ ThU doff, nf wliitli Jenninffe r^marktd, ' a Rot doR it WRl^ and n Inek; d<^R wna I U 
■■nlmM il,' wu Ui« «obia«i of an enl«rtaininff oonvanalion (rMordud bv Bo«w»il iin>d«t 
April 8. 1778) between JoWieti and Bntke (O)obe ed. 18911. p. 443). 



22 



English Translatiotis of Dante 



Ui have been modi; in 1794, wore printed in 179fl in a volume entitled 
Suntmary and Free Rejiectiont, in which the Great Outline only, and 
Principal Feaiures, of several Interesting Subjects, are iinpartially 
traced, and candidly examineiL In hjet intruiiuction Jennings says:- — 

' Daote'a Poem of Inferno. Purgatorio, and Paradiso, is, certainly 
Poetry: and though written At so early and uncultivated a Penixl as 
that of the thirteenth Century, is equal to any Thing that could 
reasonably be expected from sn grating a Hubject, even at the boat 
Times of niodcru Literature. It is. however, upon the whole, a painful 
Undertaking to read it regularly through: for, independent of the 
majiifold Kefxitition, and uuintca'ating and extravagant Variation of 
the same nauaeous Oescriptions ; the principal Object of it« Merit, ab 
the Time it yraa vrritteu. cousistcd iu the Satire, aimed against the 
surviving Reputation of such of his Enemies as were departed during 
the busiest FcriiKl of thu Author's Life, which, considering too tho 
gothic Language it is written In, has by a Lapse of Five Hundred Years, 
almost precluded any just Claim to tUs pre^nt Power of uuiufttDg, if ito 
Header be nut a meur Antiquarian. 

'I except, however, the following Caato, and the coummwatcly 
pathetic Narrative of Hugolino. with, perhaps, Haifa Dosen more short 
Passages i and it is for the above Reasons, that this Caoto only, and 
the Hugolino, are attempted. 

'The first is comprised in a consiBtent eneemhle,ajid besides the little 
Novel of Franccaca (the most elcptnt in the whole Piece), it conveys 
a suflicieut Idea of Dante's Management throughout the Poem. The 
Hugolino is unique in its kind'...' 

Of the translation itself, and of the curious notes by which it is 
accomptuiicd, the following may sen'c as samples; — 

'The Fifth Canto of Dante's Inferno. 

In which Virgil is supposed to accompany him, as Mystagogue, down 

Che difforont Cloisters altottod to the respective Delinquencys of the 

Damned... 

From Hell'it (tmi drmr>- Manaion, to the nesC 

We now dettceiiiled : I(»i. but fullcf far 

Of pitngenl Woee: for. «t itj« EHtrniico eat, 

RutnisHlT Krinuing u oi)iiU-iii|itiioii» Smile, 

Ineior&bfo Miiiod', iIooiuihk riglit : 

For 8ui:h tti' int])o»iini Terror of bis Brow, 

> Dat«d ■ 8«j>t. 13. 1704.' 
* ■ I havQ piirpnnttl; omitted Die quaint lin of hit mauiratlini: Ib« De|tT«« of Dvpth 
IhftI the UuliuqiitDla wero rtaprclivplj coiiiIciuiihI U), br tti« ^'aIulle^ uf Turns, uritli 
which he. ai ever? tieitleDoa pu«d upon tliem, cntivinKiX bin owu BuJy witb hia tail; 
bcinij mlbor Hhockcd to tUiuk that m cl«ii»itt » Port eboul<Jt liave to wftnloolj- given hiia 
Oirv, sad o/mah eaornntua L^u^th at to ifo *o man; 'i'lueii round him,' 



PAOCT TOVNBEB 23 

Tlut, Mlf-oonyicteH ths DoIinqiuintN ri«td, 
CouffflH thoir Errant, and obay th«ir Dctotii. 

At "is^it '^ u»i Minoft, bU a.vfiill TaaIc 
Supendiug, thiu aLarm'i) mi' aflVightMl SonHP. 

Advftnfroiui Slraiiger, wide tho' th' KntPMiee *»c. 
Yet, thy R«turo <«iiaid«r mil, Atid woll 
Tliy Uuide exAinin« ; to whom Virgil, thus, 
R«U>itii til' iuoultiiig Caution : Churlish Judg^ 
Thy Aid wo tmk net, for, th* mighty Ptywer 
Wbo wir cxplorini; March deiLtis to diiMt. 
Not tbM al»iie, but, Ku(« tUiAf coutroliw: 
Onwitn) we |hu>h in thy Uoagiita...' 

When Jenniogs comes to the episode of Franceaca <la Rimini ho 
thus renders her account of how she and Paolo were tempted iind fell : — 

One tutai Uay, Aniusmnotit nil mir Aim, 
AloiM, Mil] tmiwitiwctin);, th« wwotA 1'iUo 
Of lira entlinUlwI, IjuiiiotUit wiut our Theme : 
Oft' hr his SulTringa, wen our Ta^rs euforo't, 
Our Luuntenoiice iiu|iiutaioa'd, and iuHnrii'd, 
Vet, one sole Period, truely was tho Cause 
Of onr Dofeat : the Smile, th« hear'nly Siuilts ! 
Of th« long lov'd 0«n«rra, when w« iwAd ; 
KiMs't by her glorioiix I-M-or : h«, ftotn wham 
Xot DcAih itMtlf cnii'd i»rt me, tretnblingl? 
My tT«ml)U»^ Ijp im|)rcM't, vith a like Kias. 
Pander ' lUt Book, Pander its WrJlW was ; 
Tb&l Dny w« nod it« more. 

The tmoslator'B nott' ou this passage is as followg: — 
'Thiji molnncholy Event s<?em8 to be recorded by Dnnt«, with the 
1q View of UluBtratinji by actual, and then recent Example, the 
igerons Practicn of young Pcopk^'s rc-oding Romance* together in 
rivat«: tuid still more bo, where there already exists an Inclination 
bctvcpn the Part.iefl, as in tho present Instance' 
Jenmnjjs then proL-oedti; — 

■ The It«ideris nowto suppose, that he lias tabourod through, nearly, 

thirty-two Cantos of the Inteniu...and, that he Lt now arrived near the 

End of tho last Canto but two, that of the/ro;e« Region, where he will 

be highly gratitied for his Tmiihle, by the tmnseendently Rne and 

ithotic Narnation of Fltigolino's earthly Sufferings and condign 

rengeanoe on Ruggieru, Arcli^Bitthop of Pisa, who had so wantonly 

Am living Tormentor. — I say transcendently fine, for such, it 

idy is in the Original. 

The Narrative of Count Hugotino. 

Taken from tht* ead of Dante's 32d Canto of Inferno, and the greater 

rPart of the 33d Canto, and here united so as to form one cotuiistent 



14 English Translations of Dante 

Two In ft Pit of !«•, Hc, now, bchdd. 
Qnppled so close, that, to the under Eltsiu), 
Oiie aeem'd a Cor'riug, but, on ncHtur View, 
Greedy Dcvouivr [univd, of th* uthrm Fli-nh. 

0, ihoii Rnite, 
I criwl. whii lliiw, thy still uuaated Wrath 
BeiLktilv ibew'jit, ciploiii, if Words can dot. 
What ProToc&tion ntle^itutle to this 
Vias git-'n ; for coii'd I think Mich Virngsatice jiisl, 
Od my rBtiini t.«> K»rth, thy liiJHrir->s 
Ta ft.II, I'd iiiiiiiifwit. Hii" ^jurey M'luth, 
From tlifi Biw Neck, he raWd, and with the Hair 
O'th uiiuiRl'd ifeiiid. wiping it. thus replied 

r th' dismal Uunc^oik, which froui my Imnl Doom, 
Henceforth thu Towr of KAininn nhjill Iw nJtm'd, 
Through n hidhH Cli^ft, ch(i in(iriiii>^ Light luiimtr'd, 
Wli«ii, frmn a Dream', thftl my imiwuding Wot*, 
Prateutoiialy, mivpit'd. sniiden i 'woke, 
Tha Hour of hun^-ry ExtiectAtion now. 
A.pproachiiig ; my dl^a^ Kuyjt, with me Biitnipt, 
Tasir scanty Mnal uoliuit, and juitmituco, 
Of Hharpcuit AiigutHh, the fint boding PaiiK, 
By tliflir own Dreams Niijjgeated ; Bread, tEoy «y, 
But, in iu Flacc, alas ! burrible Sound, 
The (^'^^■■'t; Lix'kH 1 hear. Imrring Atxwes, 
To th' oiit«r, gloomy Kntrance "f the 'I'oVr. 

Too rtlaiiily, in my (tltci'd Countatkancc, 
My Body flxt an<l motion lesa, aftpoar 
The Aapny of HiitTring Indignation, 
With diMjMirflte R«fiiguation mix't : they wocp, 
Poor Iii]ioc«nts ! my SonBea, petrilied. 
Knew no Rehef, but in Despair..,,' 

With ' Dog Jennings ' anil the close of the eighteenth century 
Dante transktioo in England reached perhaps its lowpKt ebb. Before 
the new cetittirj- wim mix yearn old the appearance of the first instalment 
of Gary '8 classic version' revolutionized the inethotl uf English tran.'dato'rs, 
and discredited unix! aniJ for all the tradition (if Imwe pamphnise which 
ii the chief chamcterittlic of most of the Imtulations rcpiv-Hpnti,'d in the 
preceding pages. The eighteenth-century dilettante patronized and 
apologized for Daiito as an trntUiiiidiBii writt-r whu wi\s toli^rablf only 
in his better moments. Car)' recognized in Dante a great poet aud 
a grent cIahiuc, ami by hia treatment of him ba such w»n for Dante, as 
well BB lor htnisulf, a peruianeut phice in English literature, 

Paget Toitnbke. 



I 'BeaidM anitini; tho Buil nF onn Ciuitn with tho h<^iiuiiaf{ of aaolhar, co M to laake 
ena little EiuanbU, I havo tuk«<n thv Ijibvrty to (iniii the lltvaiu alliKleil to, and of Cour*«, 
tbs Pienoai mnnttonixt in it: oj the Aral diit bat anticipate Ihe Cataatrophe. and th« iMt, 
u mevr AMintaatn. arc now totally unint«n>«)tinK.' 

' Cary hail translaicd two paMo^es fioni the yuru-alurio (ui. 70 — SS; v. 37 — 9; in 
pTo«e) in a lettci to Miat Seward from Oifonl in 1792. Prom a paaaoge in hU diary it 
appcan that hi> reiee uanalativii wan Iwf^un In 1707. 



NOTES ON PASSAGES IN SHELLEY. 



The lines of veree diacuseed in these Notes are quoted from the text 
of Mr Hutchinson's edition {Tlie Complete Poetioal Worini of Shelley, 
Oxfoni, 1904). and the poems are taken in the order of that edition. 
A few of the Notes (iffcr intcq)rctation» of [xuwngiui which have been 
found ilifficult. The majority deal with textual questions; and as to 
these I ncL'd hardly my tliat, in offuring u conjectun;, I do not necessarily 
imply that, if I were an editor, I should admit it into the text Some 
Jifot-es ar* added on places in the PnMo Works. 

(1) The JMernon c/tfte World, Part t, 78 ff. The Daemon addresses 
the sleeping lantho: 

Uxidcii, tho world's fsujirouioHt spirit 

Boupftth the Mliftdow fif her wings 
Poldit all tliy iiicuior; clutb Jtiliurii 
Fn;>iii mill <if iliviii<»t tiling 
l-'(«liiiKH thrit hiK tliee Co lietnj, 
Aud light of UkiukIiU Ghat {lan away. 

For thou hnal cAniwl iv miglity booti, 

Tlic tnithfi whirl) wif«.-.-rt jhhjia mo 
Dimlv, thy iniiid mny iiiitki; iLs i>wii, 
ftowanliiiK ita liivii luajeslj-. 
Eiitrantid iu nome diviner mood 
Of Bolf-oblivious solitude. 

It is pomible to give a sense Ui ' rewarding its own majesty,' but I 
sus|KCl that Sh*^lley wrote ' regartling," The maiden's miud or ' majestic 
spirit' (\mc 98) coiiUiius the truthfi which wisest poets see but dimly, 
and has unly to lonk int^j itiielf to 6n(l them. Compare Queen Mah, 
ni. 4fl — 6ft. The '.supremeBt spirit' of the tirst slanza is, I think, the 
ipirit of lanthe hentelf. 

(2) Revolt of Islam, Dedicatiim, vii : 

TTvoii Friftid, wlifiwi prcMniicw i>n \aj wintrj' huart 
Fell, Uke bHf^ht Siiring iiiH>gi w^nie h&rbliuui pliun ; 
Bow beautiful ana calm and hva ihou wert. 
In thy yoHDjz wiadoin, tfhea tho murtAl chniu 
Of Custuiii Ui«u didat hurst and rond in twain, 



26 Notes on Passages in Shelley 

And wnlkcd «• free aa liglit the clouds fttiiAitg, 
Which nituir an eiiviouu sUve then hivathtul in v*in 
JrVoiii hia dim diltigoon, ntid mv Kpirit hpning 
To meet thoo from the woch wluoli kAtl begirt it long! 

Fnrmar wan certainly right. I think, in deft-ndiiig this (the original) 
puiictuiition against Roasetti, and in referring 'which' (last linr but 
two) to ' clontla,' and ' hia ' (next Hue) to ' slave' But ' cloudis ' does not 
merely meaii 'dense atmosphere," which would not explain 'in vnin.' 
The 'clouds' are cloudft of detraction, aa in Milton's sonnet to Cromwell. 
The slaves uf CnMtuiii abuse Mary for her breach of convention, though 
they secretly envy her courage. 

(3) Revolt of IgUtm, 1. xlix, I : 

XI.IX. 

It was a l^mvlc, auch &m uottAl haad 

Has Dovor built, nor ewtaar, nor ^leua 

RoArcd in the uitios of mcluuitod land : 

"Twftn likwrt Hcnveii, cro jot da/s juirpla tiireaiu 

KI>1m ii'ct t,hc wcnUtrii furetit, while the gleam 

Of tlin tiiirinei) tiiouti atucHij; tlia cloude 

la KathorinK— when with loniiy a ^oldoa boam 

The Uiroiitdng conntelUtious ruith in cruvrdj>. 

Paving wiUi flro the skv niirl the lunminrcal Hoixlii. 

I, 

Like wljttt iiiiij l»c coitopivod of thin v/wt dome, 

WhoD from tho do[)tLw which thought cjlh ncidoin pierce 

OoQiiu hohvlda it n»c, hin ii«tiv« hoiuc, 

<jirt hy tho deeorla nf the Uuirvrnu; 

Y^ QUI' iu miiitiuii'a li>;ht, or lui^htter vorscs 

Or KtiliitunrB marble laiiguitKo, uan iiivcat 

That ahape to dortttl soiiee— such glooms imnicrao 

That iticDmiuunicutblc eight. lUid nst 

Upun thti Inboiiriiig liruiti utid uvcrliurtheiied lireiutL 

The BUUicolon at ' Unii'cniie' waa originally a full-stop, but it has ats. 
authority, being found in the Bodleian mh. ciliated by I^rficock. To 
Roesetti belongs the credit of first changing the impossible full-stop (a 
fact which should have appeared in the Oxford edition, for Woodberry's 
substitution of a semicolon for Rosst-tti's comnift does not affect the 
flense). But Ronsetti nuide tuiuther ehaiige, by printing a colon for the 
fiill-stop at the end of elanza xtix ; and though this change is not con- 
firmed by the Ms. it is required by the sense. Foniian indeed tries to 
CMmtrue the first lines of I. independently of xtix: 'The proposition 
seems, "Tile native home of Genius, girt by the desarta uf the Universe, 
is like what may be conceived," &c.' But this is surely impossible. 
The passage is confusedly written, but the meaning is eloiu*. Shelley in 
xtix says the Temple of the Spirit woH ' likeHt Heaven,' etc. Continuing 



A. C. BRADLEY 



27 



the SiMitencL' in Llie oext stanza, (it? says the Temple, op ' vast dome," was 
like the conception of it formed by r man of genius, who sees this crm- 
oeption rise from the depths of his spirit, though he caauot embody 
what he sees in langnage or colour or marble. 



(4) Revolt of Islam, vl vii, viii : 

VTL 

For now tbe dtspot's bloodhounds with their pre; 

U&iuined and unaware, were goi^nj; iloeip 

Their gluttony of de&tJt : the looee orra^ 

Of horaoRWD o'«r the wide fioidn murdering nwoop, 

And with loud laughter for thoir tyrant rMp 

A borvml rwwii with other ho|>i.-!», the while, 

Far <>v-erh«a<l, t»hi|ict from frnputitia kue[> 

A killing r&iu of fire :-'wbuii tht- ^^-Hv<M nuiWn 

Aa auddeu euthquttkm light itmiiy a vuli;aQu-iHlo, 

YIII. 

Tbaa sudden, iinexpcctod fvut was Rpreud 
for tli« ciirriAn-rowlft of Ethvaa, — I aaw tho right — 
1 inov«d — 1 liv«d — u o'ar tlie heaps of Htuid, 
WItOM stonj cvw glared in tlifi morning light 
1 trod; 

StoDxa vii. coded with a fuU-atop until Furmaii substituted a comma, 
I coDstruing the ujHiiiiug of the ovxt atanza an the aecond hulf of a aimilo. 
Butchinsou adopta thi» punctuation, and adds: 'The passage ia 
-obacunj: perhaps Shelley vrrote "ti/t many a volcano-i»lc." Thu plain 
'Itecocoes studded in qji iiidtout with pilee of corpses, even aa the smiling 
Borfiiceof theseawill aometitnef; becomi^HtucldcJ in an instant with many 
islands uplifted by a sudden shock of earthquake." I cannot believe in 
'tllis Vt-ry ingenious conjecture ; and, although the rejHjtitioii of t*udden' 
makes Forman's punctuation seem very plaueible at first, I incline to 
think that the original puuctuation is right, and tbnt a new sentence 
ia begun in stanza viii. The image of the lighted volcanoes is certainly 
BQO«t naturally taken to refer to the ' rain of fire," th« ' fearful glow of 
Immbs' which " flares overhead' (stanza iv). each dischar^ ''cing cum- 
parvH with a volcamc eruption suddenly (»LU8cd by earthquake. Comjiare 
the phiaseuIog)'itaiicined in the fi)lli>wingHtan2afrom Marianne a Dreum 
(1«17): 

Sudden, frcta (>ut thnt city npning 

A liKht that luade thu oartb frow T«d ; 

Two dMUM that each with qiiirering tongue 
Licked its liigh dotuos, atid werA4ad 

Among thoK tnignty towen nud fan» 

Droppvd ,A'rc u a volcano rains 

Ite sulpliuToua ruin on the plainp. 



28 



Notes en Passages in Skdley 



The position of the words ' when the waves smile ' is. on ony view, very 
awkwurd ; and their meaning (imlpfu we adopb Hutchiniiun'ii sugges- 
tion) is far from clear. Perhaps Shelley had in mind a contrast of 
natural and portentotts colour, tike that in stonica iv : 

For Ui th» North I n«w t!m tnwn on fire, 
And tU ml light iiiii«lii mnniiiig jMilIitl novi. 
Which biintt over witJe Asiii. 

Or did he imagine the ships in the bright Propontis each like a volcauo- 
ialu iu eruption ? 

(6) Revolt of Islam, x. xii : 

Poura ill thu nWit HtrwU ! wkve when ths oriW 
Of victiraii to thtjir ^orv jtulgiiimit Iwl, 
Mado pale thoir vi»iaci]j«i» li|)K who auumiid to dreaJ 
Even 111 their dearest kiodivd, leat some tonguB 
Be faithlesH to the faar y«t unbetTByed ; 

This ill-written potsage haK {w-riilexed the cnmmentatnni, and I da nob 
think either Roseetti or Forman has expliuued it rightly. * The fear ' is 
piacttcally equivalent to ' the fearful.' The cries of the victims made 
pale the lipa of their kindred standing by, who seemed to dread lest one 
or other of the victims should bruak taith by informing against them, — 
thetn who, though full of uppruhenciiuiui, wuro an yet safe. 

(6) Revolt of Islam, x. xlvii ; 

And, an thnt night, one without doubt or drcuul 

Came %f> th« tire, ojid Mtid, 'Stoi*. I uto h< ! 

Kill me !'— Thcj- Imrnnl them both with hdlwh mocjcet?. 

The interjirfitations of these lines given by Rossetti and Fonnan seem 
quite impossible. The meaning has been poiJited uul to me by xoy 
brother, F. H. Bradley. TTie orthodox are* burning the infidels. One 
infidel, A. ia just going to be burned, jViiother infidel. B, comes up and 
says, ' Stop ; that in not A ; /am A.' The orchodost bum both A and B, 
and think it im excellent joke. 

(7) Pnnce At/tattcuw. Part i. Foiitnote at conclusion : 

' The Author wa.i pursuing a fuller development of the idcaJ character 
of Athanase, when it struck him that in an atto^mpt at extreme reHne> 
meot and analysis, his conceptionB might be b(*trayed into the assuming* 
a morbid ehfiraeter. Tht- reader will judge whether be is a loser or 
gaitier by the dlSureuca* 

The received text Keems to he ' thin differencR,* not 'the,' But 
'difference' should surely be diffidence.' BusMtti made this correctioa 



A. C BRAULEY 



29 



in his second edition (1^78), iii, 241, but be printed Shelley's Note in 
isa odd a place that hia correction may welt have escaped notice. 

(8> Prince Athanaae, 255— SfK) : 

How iDADV A sjiint then |i«t« on thft pinions 
Of fuicy. And otitdlriiM tito togging liliuit, 
And hia own ntcps^iLn<i wvcr wido doiaiiiionv 

Sweeps in bis droftni-drawii churiot, (at ftnd fast, 
Hon Hoot tliAn storin«— tbo wiilo world lOirinkn boLow, 
Whtn winter imd df«|M>ndi:acy arc y»a\. 

The awkwHrdness of the parentheais 'the wide world abrinks below* 
IB aroided in the corrected vereion deciphered with 'little doubt' by 

Looock, 

Bxnltiitg, wbilo the wid« world itbriiilM ImIow, 

(9) Soaaiind and Helen, 5:)6— 546: 

Witb woe, which iiovfir bIccj* or tdopt, 

1 wander now. Tin n vaid thought — 

But on yoD alps whutie stiowy bcttd 

'Mid the osiiuv air in ielajidoct, 

(Wc w» it o'er the Hond of cloiid, 

Whicli sunrise from iu cumUtrii ukve« 

T)riv««, wrinlcling inta j^nlilcii wAves, 

[lung with its pruciiiieM jtroud. 

From Ihftt gmy ntoiie whore first w* met) 

There— now who Iciinws the dend foel nought t — 

Should b« toy grave ; 



Surely line 545 should nm 'There now — who known/ etc 
ivcalU 'now' in 537, and in cuuti-asted with ■ then ' iu 559. 



Tlio 



now 



(10) RMalind a^ui Htlen. 612 : 

Wh«ii Librrt/» dwir pAwti fell 
'Uid tuurderuuit howla. 

Poanbly ' clear paean,' ' clear ' being a very iavouribe word with Shelley, 
very easily misread ' dear.' 

(11) Prometheus Utihoand, ll. ii. 38: 
Like tDADj n lako-mirrouudwl Hiite. 

This is the rcailing of Mrs Shellvy'it editions and of the Bodleian Ms. 
The ^iitio princ^ps (1820) t)aa Make-fiurrounding," and this might be 
,aupported by rufcrcnco to (^itfeH Mab, vi. 5 — 10. Shelley hiiaself may 
kvu written it and then changed it to ' take-^urroundcd.' 

(IS) Promtth^ua ihxbvuHd. \\\ 165, 168 : 

And n boaroD wbcro yvt hcavuii uuiild aer^r tiu. {186) 
Witb th« powen of a world uf porfuct light. (168) 



30 



Notes on Passages in Shelley 



It in necisMsary to the seiwe to aubetitute (with Woodbeny) semicolons 
for the full-stops at the ends of these lines. 

(18) I'ettn- Bell the Third, vi. xiii : 

'rtiB Devil then wQt to Leitwic fsir 
For Horn'M triiii"lH.tii>n "f Kiwit'n buok; 

' Profeaaor Bom's I^tin tmnslation ' of Kant is mentioned in Peacock's 

Mdincouri, chap. xxxi. Melvxmurt wa« published in 1818; and ihjfl 

chapter, which contnins the skit nn Cnlendge (Moley Myatic). seems to 

have been of use lcj Shelley here. In it he might have found the joke 

about 'a pure anticipated cognition' (note to V3. rvi). His 'Firo, 

which es luce jiraebans/umum' (xvii) may be due to Peacock'o deserip- 

tion tif iho fire and smoke in Mr Mystics mom, Peaoock might even 

be the 'fHend' of xv: 

A ttiaiA, too, spoke i)t their diftpratM^ — 
He never tead them. 

(14) fettr Bell the Third, VI. xxix : 

'And I ttnd ytM, 
My dearest Soul, will ilicit make aiciry, 
As the Princo Ilcgcnt did with Shorry. — ' 
'Ay— and at lust desert cur. too'. 

The etansa that follows makes it almost certain., I think, that 
Hntchinaon i« right in conjecturally printing the last of those linen as 
the Soul's answer to Potur. But he ha« unconsciously reproduced a 
suggestion to the some effect by Rossetti, who however did not venture 
to alter the text. 

(16) The Witch of Atlas, Dt-aication, L: 

Kow. my dtMir Mnry,— luw jron critiu^bitten 
(For vijierH kill, though dead] by some roviow, 

Is ' dond ' a misprint or niisuTiting for ' deaf i Cf. Adonaia, xxzvi (of 
the Quarterly reviewer), 

What deaf and viperous murdoror MtUd crotni 
Lifo'n early cufi with ouvli n draught of woof 

It ie true that there is no antith<j8is in ' kill, though deaf,' but if there 

is any point in ' kill, though dead ' I have misaed it 



(16) Epipsifckidion, 657 : 

Where tfcoure tileep may kill thine innoc«ot lighte ; 
It ifi hard to believe that Shelley meant to write ' kill.' though I can 
suggest no other word. 



A. C. BRADLEY 



31 



(17) f^aymeHts eonnectM wWi Ejnpst/ehidion, 61 ff. j 

Wliy, if you inon o. Indy, it wero fiur 

The world sbuuld kiiuw— but, xa I wu afr^d, 

TIjb tliwrtorly wuiiM Uut you if t>etriiy«<] ; 

And if, i\s it vriU l>o sport to see theni stumble 

Over all aatU of acAnciALi, hear them mumble 

Thdr litui}- nf i;(into»~«oiiic guom rigbt, 

Aim] othm twcmr you're a HerinnuhnKlitc ; 

Jjik« ib:it Hvrwt [u&rble nion»l«r of tiiilL itexoH, 

^'biili IfKikn an aveet and scatrle tbnt it vexes 

The vciy w>iil thnt the aaxit is gona 

Which lifted from her limhn tbe wil of stone 



M 



&} 



,-=- iWj thi! L'lliuir diKJs bf-st to print this without any alttration ; but 
feel little doubt that, to give Shelley's meaning, we ought to delete 
both the comma sfler " afraid ' (52) and the ' if in 54, and to ri-gard the 
whole, from ' but ' (52> to the end of 61 , as the protasis of an tjnfinished 
Benlenci?. the sense of which would W: ■ But. Bince 1 am afraid.... and 
fflnoe it will be sport to... hear them mnmble their curseJ!, — to hear some 
giieaa right aw! others swear you're..., therefore I ahjUl reveal nothing 
about you.' Kttssetti propa^ed to omit ' if in 54>. 

(18) The same. 154 01: 

Whiit is Uittt joy which aercne infSincT 
Pprceives not, hb the houn content tlipm by. 
Sacb ill a chniii of blomom^. y«t nnjoyis 
ThB abapM of iU'w dkiv wurkl,' in giniit Uty* 
Wrought l>jr ihu biiHy...... 

I cannot believo that 'conleut them by' meatis 'pass pleasantly by.' 
' Them * is probably a miswriting for ' trip ' or ' troop ' or ' throng ' or 
Home mich word. Perhapii ' in giant toyei' ahould be 'us giant toys.' 

<19) Tnum2>h of Life. 99 : 

AU the four taxm of thnt Chariotoor 
Hnd tbdr «yM bandMl. 

The Chariotetr is taken, I bcliovo, by m(wt rtywlers to be Time, but it 
ecems m<»re likely from a ]»a»iage in Hellas that he is Destiny. See 
Jieitas, 711: 



Tbo world's eycl<B>» •:li4ixi<ito<4', 
Uwtiny, it hiiriyiog by ! 



(20) 



Triampk MfLifis, 128: 

AU but the naciTKl few who couM not laiufi 
Their npirittt ti) the uuiti|Uoruni — 

If * comjuerors " is right, it will mean men who have dominaU-d others, as 

in 2t!4. But there xe, nothing in the context to point to this. The 



8S 



Notes on Passages in Shtlley 



context shows that th« ' sacred few ' are those vrho. Ukc Jesuin aiul 

Socratciii, never yielded to the power of Life. Life, jiist before (1 12), has 

been compared with a 'conqueror' in a Boman Triiimpb ; and so again 

w^ have, at 239 : 

For in the battle Lifo and tbejr did nag^ 
She rcmuiicd oonqueror; 

and, at 304 : 

WbitUor the cfinquwor hunies me. 

It seems alraowt certain, therefore, that in the present passage 'oon- 

queroTs' is a mere slip for ' conqueror," or (leas probably) for •conqueroris' 

(' spirit ■ beil^ understood). 

(21) Triumph qf Life. 188 ff. : 

' If thou canst, furliear 
To join tlic diinoe, wliiub I had well forborne !' 
SaiA tlie grim Feature (of my thought nware). 

'1 will iinfdld ttiRt which ti> this dtwp scorn 
Led mo And inr ci>mjiAiiinnK, luid rnUtc 
The |>rr>gr@8s of the jiAgeant HiiiOG the mom; 

' If thiixt of ktiuwledgo shnll not then ahate, 
FMIdw it thou eren to tho night, hut I 

Am vfeAi-j.' 

The third line mn, in the editions of 1824 and 1830, nocording to 
Hutchinson : 

Said th<> grim Fcatiuv of my thought: 'Awnre 
(in the edition uf 1K.S9 tho linu otids with a comma: I have nob seen 
that of 1824). It^ssetti (1»70) printed, 

Said llie griro FoaturB (of my thought awftro). 
And hf! says the enu^ndation was Browmng's. Had Browning then 
communicated it to Mrs Shelley? For in the edition of 1847 I find 

Said the grim Feature, (of my thought nwiire) ; 

It is a pity, in any case, that Hnsst tti did not print this semi-colon, or. 
better still, the romma of 1839 : fur surely the sentence i« continuoua 
down to ' mum,' and we ought therefore, further, to delete the cnmnia 
aAer * canst ' and the mark after ' forborne,' and read : 

'If thou ciMiift forhftw 
Tu join the daiiMt, which I hod wwIl fcnrbonio,' 
Sdid the grim Foaburo, of my thought «war^ 
'! will... 

(22) Triumph of Life. 265 : 
Fame aiiigiod oat for her thander-beajing minion ; 



A.. C, BBADLBV 



33 



Foraum's proposal to omit ' out ' is sur«ly right. The tniaprint is due 
to 'oatlived " io the next lino. Shelley, I mny aikl, does not elsewhere 
oae ' oat ' with ' single.' 

(23) 3^-iuwipA 0/ Li/e, 270 ff. : 

'be wmpelled 

Th« Proteus nhap« of NuUiro, lut it alept 

To wftlce, and lead htm Ui the ciii'm thnt held 

The treasure of the eeopeta i>f its raign. 

See the grc&t bftrdit of older time, who quQU«d 

Th« [iiuuiioiM wliieh they Kuug, hx hy tlmir Htraiii 
May tfell lie known : tlieir living uiolody 
TeiU{iets its own «oiit&giiiD to the velu 

Of chooe wbo are iuTecied vritli it— I 
1t*re siitfereri what I wnite; or viler pain ! 
And ao mj wordn bare iiie«ds of niiBCTy — 

Eiuit ua Uiu Jc'^^Ib of otliurs, uot as th«int.' 
And Uicii lit! |Hiii)tLHl to H uitapaiiy, 

'IliilHt whom I quickly rcoogrtiised th« heir^ 
Of CAeaor's criiiw!... 

Mrs Shelley, failing, 1 suppose, to observe or decipher the words 

EvMi lifi the deeds at othen, not as ttiein.' 
And then 

printcfi after ' misery ' some lioc^ of asterisks, and then the tbllowjoK : 

[There ifl ft diauui lioro iti the Mn. whiuli ii in imiKisaiblo Ui Bll up. It appoura 
ttom the context, that other abapos yaea, oud tluit JIoiiemmu atiU nf'.ood 
Lceide tb« dreamer, an] 

he pointed to a eoni[iaiiy, 

Btt restored the missing wor<is from the Boscombe w.s., and 
Fomuin rightly questioned the ' chaum,' maiDly oil the ground that 
■ oompany ' rhymes with 'melody.' 'I.' ami 'iniseiy.' This iit not only 
so, but ■ theirs ' gives the required third rhyme to ' heirs' and 'snares' 
(285t. Wc nuty annume, then-fiire, thnt then; is no chaam. But tbvu 
there is redundancy: for 'melody.' 'I.' 'misety,' 'company' gi*e four 
rhymea; and »o do 'reign,' ' stmin,' ' vtin,' 'pain.' It suema likt-ly, 
then. that, after vniting 'I have suffered what I wrote, or viler pain,' 
Sholli-y mctuib to strike out the wordft between ' known ' and ' I.' and to 
fill up the gap in such a way that ' I ' would bo the last won! of the 
Hub beginning ' May well bu known.' Tbia wuuld bavv put the metre 
HghL 

(24) Triuntph of lAfe. 334 : 

I.ika thin liarsli world in which I wake to weeti, 
Surely 'woke.' Cf. for the error 296, whore Mrs Shelley printed 
' coniatt ' for ' earnest.' 



v. L. B. 



8 



C26) Statuas — Aprii, ISl^. ' Away ! the moor is dark ' : 
Duty uiil d«rel[ctLi>[i gviide thee bMk to «olitudci. 
Sheliey seems to have had a liking, in his youth, for tlie word ' dere- 
liction,' which he tisea to mc-on ' the state of being abundoncd.' 
ExampleiH will be found in St Irvyne, eh. i, par. 4. 8.f., and ch. ix, which 
opens thus ; ' Ah ! poor, unRUspecting innocence '. and is that fitir flower 
about to [lerish in the blusbi of dereliction and unkindneas ? ' See also 
his lottCT to his father, Dowden's Life, i, 207. 

(26) To . ' Yet look on rae ' : 

Mrs Shelluy printed these lwelv« Unt-s in her Note to the Poema of 
1817, adding that they were early, though shu could not give their 
date. She called them ' tbi:* fragmenl of a sung.' and printed them ns 
three (juatraina. lioasetti regarded them, and printed tbem. as an 
unf]niHhe<l aoniict, and hia view seems to have been adopted by Dowden 
{Life. i. 422) and Hutchinson. But it may be observed that thi; first 
nine lines would form a Spen^e^ian titanza with the A1e:!(andnne 
reduced, and thai the rhyme system then starts afresh, lUi though 
a new stansa were beginning. The fragment i» evidently a first draft, 
and it secniu likely that a monosyllabic verb has dropped out between 
* thuu ' find ' alone.' and that ' lov'at ' has consetniciitly biwju expanded 
into ' loveet* 

(27) The Sunset, 21 : 

' Is it uot strange '"'^^'^l, ^aid tho voath, 
' I never saw tho mm 1 We will wnflc ium 
roiiiorrow; tbtiii ithult look on it with luc' 

The youth's statement that he never saw the sun always appeared 

to me extraordinary, and 1 had wondered if Shelley meant to write 

'sunrise.' Foruian not only conjectured that he did, but proposed 

to read. 

[ never nnvi the Bucrisef We will wake \ivn 

This conjecture, says W'oorlberiy, ' substitutes melodmmn for natural 

feeling and expresHion '. but he gi%-e6 nu interprutaliou of the ' natural 

exproBsioQ.' Th« conjecture is tempting, but on the whole 1 should 

reject it, mainly because of the rhythm. ' Walk,' too, in natural, for they 

were walking as they watched tho colours of tho sun»et. (9). But what 

then can tho :>tutemeut ' I never saw the sun * meutn ? It appears from 

the preceding linos that the sun had already set when thoy wore 

wntt^hing the sky ; and it ha^ been suggested to nie that ' I never saw 

tho auu ' meauK simply ' I did not see the sun,' ' never ' being used as 



A. C. BRADLEY 



35 



when -we say, e.ff.. ' I never noticed that A had left the room ' instead of 
'* I did nob notice. . . ' 

The words 'broad and burning' in line 17 form one of manjr 
isatoDces in 'these early poems of reiniuusvcnces of ColcridgL- (sue 
AncietU Mariner. 180). 

(2S) Mont Blanc. 47 : 

till tlie hToat 
I'Tam which they fled recAlts thcoi, thou art Uiore ! 

The line ending 'there' ia the only one jrt the section that has no 
rhynii! ; anil the last thrpo wdrda rend Htmngety. If right, thpy must 
Burely form a clausu co-ordinate with the preceding clausu, and shuuld 
have a dash before them t<> niak« thin clear. 

(29> Fragit\€Ht : To a Friend released from Prison : ' For me, 
my friend' 

(30) yragvient : ' A Gentle Htory of two Lovers Yo^tng' 

Theae two atamsas, printed respectively among the Poems of 1817 and 

1819, arc in the same ver}* unusual metre. Are they not connected ? 

If the first is addressed tu Leigh Hunt, \» it jjoasible that the second 

refers to his Story of Rimini (1816) ? 1 quote the second: 

A gwtth vtor; of two luvvre youug, 

Wbo met in iunoccuoo uud iliuj in aurrow, 
And of one aelfitth h«urt, wkuaa raucuiir vlutig 
Lake cunoi oa thooi ; tiro ;ye aluw to borrow 
Tlra lore or truth bma euch a tolol 
Or in this world'a dcoortod vule, 
Do jro not aw a (tar of glodneeH 
Pieroe the shadowa at ita iwdDeee,— 
Wlieii jre are culil, tliat li>v« in a light iwiit 
Pruu UeaTeii, vrbicli umio nhiUl queu«h, to ahccn tho iuuocetitt 

I do not find the d;us}i after ' esadnem ' in the editions of Mrs Shelley, 

^cMTuau, or Dowden, and do not know if it is a conjecturu. But in 

ay case what dues the m>xt line mean ? Rosxetti printn a note of 

interrogation afk-r 'cold,' so a« to connect the clause with the immedi- 

liely preceding wnrdn ; but this conjecture still leaves the n>»t of the 

P»enK!nce without a coDatruction, and, however prosaic the suggestion 

may nound at first, I feel little doubt that what Shelley wrote was ' told,' 

not ' cold.' 

(31) Lines tmK«n amorig the Euganean Hills: the conclusion: 

We may live bo happy there, 
That th« SjjiritB of the Air, 
Envying us. uav kkvu catixM 
Til our ItuiLliiig Vnmdiiw 
The |>ollutin); multitude; 
But their rage woiil<l be aubduod 



ZQ 



Notes on Passages in Shelley 



B7 that clinui divino and caIri, 
And the wind.i whiwis wiom rain balm 
On the uplift«i -toiil, and 1uv«a 
Under wiuch th« bright bw hAaras ; 
Wbile ejush bnMtlUew interval 
In th«<ir whiitporingH murical 
Thv innpirod «oul nupplic* 
With ita own deep raalodio*, 
And the love whioh beaU a11 atniia 
Ciicliiij;, lik« tbc broatli of life. 
All thii]|;8 la ttiat 8wo«t abod« 
With iU own mild brotherbood ; 
Thaj, not it, would obango ; and »ood 
Evcrv aprito bvncath tbc moon 
Would ri'iwiit ita VHTy vaiti, 
And tlie earth grow yoiiiiK aicaiu. 

"What is the constniction of ' And the Iove...brothiTh<iod ' ? With the 
pmicluatiuQ printed above. 'And' must connect 'the love' with the 
"melodies' of the preceding tine; ami the raejuiing will he that bho 
inspirud soul auppUes each interval in the whisperings of the leaves with 
its own deep mctwiiefi and with the love which heals »11 strife by 
circling, etc. Then ' They, not it. would change ' is an independent new 
sraiteDcti. I find it ditlicidt to behove thai thiti is wbiit Shelley 
intended. I suggest that his meaning would he conveyed, if a semi- 
colon were printed after ' melodies.' a.nd if the next lines were punc- 

luabed thus: 

Atid, ibe love which heals all Htrifo 
Circling, like tho Inatli of life. 
All things ill that nroct abod« 
With >t« own mild brochorhood, 
They, not it, wottld change ; 

•i,9. 'and, since [or while] the love which hi^l» all tttrifv cncireltn all 
things in that sweet abode, what would be changed would be the multi- 
tude, nob tho abode.' This is a aomewhat awkward conatruction (and I 
nhould imagine that^ when Shelley began the line 'And the love,' he 
nieaub 'love' to be the subject of a verb like "would ehauge thom'); 
but it L9 more probable, t think, that he admitted this awkwardness 
than that he broke the flow of his peroration by abniptly beginning n 
new sentence four lines from the end of the poem. 

It should be remembered that, in Forman's opinion, the proofs of 
thia poem were probably corrected by Peacock, who, Fonnan also thinks, 
changed Shelley's punctuation, substituting other stops for the dashes 
•of the MS. 

{32) Tha Woodman and the Nightiiiyale. hne 6: 

And OS A valo is w&wrod by a ilood. 
Or aa tho uoonllght fiiln the Open al^ 



A. 0. BRADLEY 

Stniogling with diU'knott.'t-~aii a tubcroM 
Pco|uw Hiue lodian di^ irith scenta, etA 



37 



Bimile beguiDiog 'as a tuberose' is the tbii'd of three; and the 
BCond of tbcni begins ' wr.' ' Tuberose,' further, seems to be a disyllabic 
in the only other passage where Shelley uses it, Sensitive I*lant, 37 : 

And tbo jUBonuiio fuinb, and tlic awc«t tuberono. 
It S4^ms therefore probable that here ht wrote, or meant t« write, ' or 
aa s tuberose.' 

(33) Froffmffnt: ' Hy hoad is wilil with weeping.' 

I Knlk iiiUi ihc «ir (liiit no reSief 
To nwk, — iir li^iJy, if I MXight, to find ; 

It came luiwHiglit/; 

I suspect the scmi-coIon after ' find ' should he struck out. 

(34) Fragment: ' When a lover clas])3 his feirent." 

These two stanzas are in the metre of Miasry, and might be a rejected 
pftTi of it. 

(35) A Vmon of the Hea, 131 : 

And chat bi-e<u:)i in t}i« tonipoit in widening away. 
Pcrbapa Shelley wrote ' alway ' (a form of which ho wae rather fond). 

(36) Ode to Liberty, stanza i. line 5 : 

M; Miul npunirs^l t)io c)i»ins uf !bi dinniAy, 
And ill till! ni{ii<,l t>hinii'H of KOiig 
C'lutlicd itwlf, niiUniu! and Mtrung, 
(As A youcg eagl« aoani tha momtiig clouda among,) 
Hovering in verae o'er tU aceutttotuM \my : 

TTie punotuation seems to be Cdujectural. That of the edUio jirincep* 

(IJi20) luiH a wimi-citinn at 'strong' and nn marks of paix^nthosis round 

the next line; and thin is also the piiiietuation uf Mrs Shelley's editioim. 

Hnurhiiuion's text connects the line 'Hovering,' etc with 'My soul.' 

The received punctualiou would rather connect it with 'young eagle.' 

If the latter is right, 'in verse ' cannot be right ; and I Rtmiigly suspect 

that Rossetti's conjecture 'inveree' (which the Oxford text does not 

record) is the tnie n-ading. Shelley used this word in the Letter to 

Maria Gisbome, 201 (a poem writttm a few months after the Ode to 

Liberty), 

Or whether clouds sail o'er the invenw deep. 

'The inverse deep' nieans, I suppose, the det^p which looks down on 

tbo earth. In the prvHenl passage 'Inverse' would have the soino 



38 Notes on Passages in Shelley 

meaniog. The oxprcaeion may be thought odd or proaaic, bat it \a. at 
least, as j;ood as the altematire, which makes the line a peripbrasu 
for 'bcginmng to write poetry on its tieiiai subjects.' Od the other 
hand I suppose, from Woodberry's text, that ' in versi.' ' has the authority 
of the Harvard MS. 

(87) Od* io Liberty, ntanza xvii : 
The obscurity of this otiuiza is due to the fact that, while the word ' if 
is used in dilfercnt senses^ it is naturally taken by the reader to have 
the aaine sense thruughouL. In lines 4 and \Z it has its usual meaning, 
but in lines 6 and ' WTiat if means 'What though.' Thus the 
general sense of the laat ten linea is : What is the use of the cont|ue6ts 
of Science and Art if the results of these comjuests are misapplied f 

(38) Ode to Naples AQO: 

Ttiftt wenltb, surviving fate, 
B(i thiDP.— All hail ; 

What does ' surviving fate' mean? Con the true reading be 'That 
wealth-sur\'iving late be thine I ' f 

(39) Fragment : • I dreamed that Milton's spirit ' : 

I (ireiiniod tli«t Milton'* *pir>t km;, unA tixik 

Prom UfoV giT»:n troo Kid I.'r4u>i(ui luto ; 
Aud frvm his tmich awcvt tbuntlcr flowe<l, iind ahook 
All huujiku tliiiijjn built ill coiit«u]]>t vf tu&u. 

Surely the second line should end ' lii.s lute Umnian.' 

(40) Lovt, Hope, Desire, aud Fear: 
This, as I have showi, is not an original poem, but a very free trans- 
lation of Brunett<j Latini's Teaoretto, lines 81 — 154. See the Athmaeam 
for April 15, 1899. 

(41) Gimvra, 103 : 

Arnl left hor at her own requftat to keep 

An hour of quiet and rest. 

Surely 'quiet rest.' Cf. Hellas, 25. 

So lliou tnigbt'ot win (inn Hour of quiet aleeiL 

(42) Tlte Boat on ike SercMo, 30 : 

Alt roHQ to do tli<9 tjink He net to Oftob, 

Wba sbapcil u» ti> His enda aod not our own. 

This is, I think, thi- imist. ileeidt-dly ' theistic ' puAsage in Slielley (I do 
not know, by the way, where the capita.1 in ' His' comes from). I never 



A. C. BRADLEY 



3y 



it witbont surprise. It has a ourious rt-»i.-m1}Ianco to the passage 
at the opening of the Triumph of Life, where all thin^ are said to 

Rise an the Sun tljoir fnthvi' rosc^ to bear 
Thoir portiuii of tlic Mil, which ho of old 
Took « hlfl own, ftiid thon iupoood on thoni. 

(43) The Boat on the Servkio, 48—51 : 

The»e lines, beginning ' If morning ilroams,' and ending ' time of day,' 
are evidently one altemixtive vuntion; and 61 — 65, 'Of us.. , knows 
where,' are another. One or the other, therefore, should be j>rinted only 
in a footnote. 

(44) Fmgmmt : ' And that 1 walk * : 

And thut I nmlk thus [imudly crowned withal 
Im that 'ti« luj ditttiiictitjii. 

Sarely Shelley meant to write ' 'Tis that is," or * In that is.' 

(45) Fragmtnt: The False Lawet: ' What art thou." 

Thia is in terta rima. Can it be connected with tliB THumph of 
Life f Unless I mistake, the inverted commas which mark it as a 
dialogne are due to Rwnetti's conjecture. But the OxTurd edition has 
DO note. 

(46) The Magnetic Lady to her Patient, 43: 

Aud SA [ muAt on «ioKh ahido 
Awhil«, yet u-iniJl me not U> hnmk 

Should not the second line ntn ' Awhile yet, tempt me not Ijo break '? 

(47) To JoM, the Recottection, ill : 

We paused amid the piow that stood 

The eiiuitA nf the wajtt*. 
Tortvtn^l liv ntt>riii» to ithngNW as mdo 

Aa «cr|*iilfl inttrliL-fid, 
Aiid Bdothcd hy every oztire broatb, 

Thut ninW IIcHveii is blown, 
To liiiniiuiiirB Slid hiu^ iHjncnth, 

Ah t<;iid>^r HH it« ciwii ; 
Knw nil the tree-top* lay aalecp, 

Like Kreen wavea on the hbo. 
As still ai in tfao silent deep 

Tiiu oocnii wtx>ds may bo. 

I cannot help suBpoeting that the comma in line 4, and the semi-colon 
in line K, should change plnees ; i.e. that the participle ' soothed ' in line 5 
refers to ' tree-tope* in line 9, not to ' pines" in line 1. The last eight 
tine*, it should be remembered, were not part of the poem as first 
written. 



40 



Notes on Passages in Shelleif 



PROSE WORKa 

(I refer to the pages of Mrs Sht-lh^y's wlitioii of ihe BWjr«, Letters, 
etc., 2 vols. 1852, and to thoBc of Fomuin's edition nf the Prose Works.) 

(48) De/eiiM of Poetrif, Essays, i. 1 1 ; FormaD, lii. 106 : * An 
obHCrvation of the regular mode of the i"ecurrence of harimmy in the 
language of poetical minds, together with its relation to umsic, produced 
metre, or a certain system of traditional forms of hannoDy and language.' 
The last thrt-o words should surely be ' harmony in language." 

(49) Defence of Poetry, Essays, i. 21 ; Foniian, iii. llfi: 'The 
dmnia. so long as it continues to espre.48 poetrj', is as a prismatic and 
many-sided mirror, which collects the brightest ravB of human natvire 
and dividp-s and repnxiuces them from the simplicity of theiie elementary 
forms." Shelley purhapM meant ' divides iheiu and reproduce frora 
them.' 

(50) The next sentence but one should read : ' Tragedy becomes a 
cold imitation of the fonu of the great masterpieces of anticjuity. divested 
of all liarmonious accompaniment of the kindred arts (and often the very 
form misundet^tnnd); or a weak attempt to teach certain doctrint-s,' etc 
* Are infected.' al the end of the sentence, is of couree a mistake for 
' U infected.' 

(.51) Defence of Poeirt/, Essu^g, i, 22; Fonnan, iii. H": 'At 
such jwrioda the calculating principle ])ervadea all the forms of dramatic 
exhibition, and poetr}' ceases to be expressed upon them.' Read 'im- 
pressed' for ' exprcjiRed,' which occurs five linwt above. 

(52) On the Ptmishnurnt af Death. Essaifs. i. 175 ; FoiToau, U. 
248: 'there is a certain analogy, not wholly absurd, between the 
consequences resulting to an individual during life from the virtuous or 
vicious, prudent «r impnident. condnct of hi.s cstomal actions, to thoae 
conscquoncfs which are conjectmt^,' etc. ' Tu those consequences' is 
obviously miswritten for ' and those consequences.' 

(58) On Life. Etmyt, i. 1S3; Forman. n. 259: 'The shocking 
absunlities of the popular philosophy of mind and matter, its fatal 
conse(juences in muraU^ and their violent dogmatism concerning the 
source of aU things, hod early conducted me to materiatiHra.' ' Their ' 
is a mi.fWTiting for 'its.' 



A. C. BRADLEY 



41 



<84) On a Ftiture State. Essays, i. 192; Korman, ii. 277: 'It is 
iblp that what we cnll thought lh not an actual being, but no more 
than the relatitm between certaiu parte of that infinitely varied megs, of 
which ihc- rt-al of thi- univcrst; i? c<im]Kis«J, luid vfhich ccuaus fco exist bo 
sMtn as thiKse parts change theii- position with regard to each other." 
The ■ which ' ht-fort- ' c«i»cs to exist ' refera to * relation.' not to ' mast' 
What Shelley meADt was 'and that it.' 

(55) lb., nix sentencKS further on: ' Yet the Jiffeivnce between 
light and earth is scarcely gnmter ihaii that which exists betwceu life, 
or thuughl, and fire.' Shelley meant ' less great,' not ' greater." 

(56) lb., iitmys, \- 1!)!1; Farman. ii. S78: 'Fur when we u«c the 
words principlt. power, taiut, &c., we meuii to express no real being. 
but only to clnafi under thosf terms n certain neripH of co-existing 
phcoomcnft : hut let it be supponed that this principle is a certain 
aubfitance,' etc. A quite new sentence should begin with the words 
' bat IcU' What precedes is parcnthoticaL 

(57) SpecHlutions on Metaphysics, Essays,, i. 196 ; Fonnan, ii. 2^4: 
*Il ha» cqmnmnly been supposed that tlurae iliiitinct thoughts which 
affect a uumbur of penioiw, at regular intervals, during the passage of a 
midtitiide of other thoughts, which are called real or external vhject*, 
are totally ditTerent in kind from those whinh affect only ft few peisons, 
and which recur at irregular intervals, and are usually more olwcun^and 
indistinct, such aii hallucination)!, dreama. and the ideas of madness.' 
The claiuw which run.** ' which are called real or e-rlernal objects ' should 
read ' and which.' etc. The ' which.' that i« to say. refei-a not to 
' tbtmghta ' immediately prece<ling it^ but to ' those distinct thoughts ' 
two lines above. Shelley's point i.t that the thoughts which uw adled 
external objects, and the thoughl>s which are called hallucinations, 
droatua, etc., differ not in kind but only in force. 

(58) Ik. Essaya. I 1 99 ; Fonnan. ii. 286 : ' For if tJie inequalities, 
pnxliioed by what h/w been termed the operations of the external 

iiversc were levelled by the perception of our being, uniting, and 
ig up their interstices, motion and monsumtioa. and time, and s])acc ; 
the element* of the human mind being thus abstracted, sensation and 
imagipation cease.' This pinictuatioii, which placea 'motion.' ' luenaur- 
Ation.' 'tiiue,' atwl 'space' in apposition with 'interstices," tunis the 
iH!Dleneii into nomwrnw. The word» ' the elements of the hnmaTi mind * 
nru in apposition with ' motion and mensuration and time and space,' 




48 



Xotes on Po 



tn Shelley 



as Oie drift o( the ar},^itnciit shows. Shelley's meaning aiixy be expressed 
tbus: If the inequaliti^ produced by the so-caMed operatiooa of the 
oxbemal uoirorae were levelled through the iotersticos being filled up 
In t^. iH-rceptioD of our exietence, sensation and imftgination would 
o I- , I r uiotioD, mensuration. spftce and time would have disnppeared, 
and thi<e« lUX' the etemettts of the human mind, The semi-colon after 
' ■iMce ' should be A comtnik, ami another commn should be insetted a{toT 
' laind ' ; or else ' the elementa of the human mind ' (should be enclutted 
in mikrits of jMtvntheeiB, 

<80) lb-. Eaaays, i. 200 ; Forman, ii. 288 : * It is said," etc. Formnn 
rif^tly obBi>rvc8 that this paragraph does not aoem to have any ntjcessary 
roitiicctioii with th» uthers. If it in not a mere detached remark, it may 
wot) beconuected with the sentence just dealt with in (58). 

<eO> Ih., Essays, i. 202 ; Forman, ii. 293 : ' This is met«]y an affair 
ofwordH, ami nn the dispute dosorvea, to say, that when fipeaking of the 
ubjeeis of liioLij^hi, we indeed mily ile-wribu une of the fonns of thought 
— or that, speaking of thought, we only apprehend one of the operations 
of the uuivenwl s^Titeni of beingH.' There is evidently something wrong 
heiv. hut the meaning is plain enough, ojid I see no reason to doubt, 
with Forman, the corro^tnea^ of ■ beings.' But there is miawriting ch- 
corruption in ' and as the dispute deserves,' and il is probably impossible 
to conjecture what Shelley wn)te or meant to write. The sense might 
have byen ■ itnd the only answer the dispuCti deserves is to say ' ; or, 
more probably, ' and at! the purjiose the dispute serves is to show.' 

Mrs Shelley usml extmvagaut laugiiagL' about her husband's philo- 
sophical powers, but it is evident that shit did not understiuid those 
fragments. 

1 cannot end without congratnlating Mr Hutchinson on the excel- 
lence of his edition. In these Notes I have naturally been led to 
comment on places where slight changes in it may be desirable; but no 
student can help admiring the thoroughness and judgment displayed 
throughout it. When wn nra able to compare with it the promi-sed 
cditiitn by Mr Loeock we may hope to reach the oomplt^lion of the 
process which since 1862, the date of Gnrnctt's Relics of Skdlay, has so 
greatly enlarged and purified the text of the Poetical Works. 



A. C. Bbadlet. 



THE AUTHORSHIP OF THE SONGS IN 
LYLY'S PLAYS. 



* And sut-ing you Imvu iised mv so fnL-ndlj, na to utakc tuu acquainted 
with your paesioDs, I will shortly' muke you pryvie to mine, which I 
wrouklG be loth the printer shniilde see. for that my fanciRa being never 
so crooked he would put tht-iu in atreight HnL-a. uufit for my humor, 
tnoccwuie for his art, who »etteth downe, blinde, in aa many letters as 
seeing.' These vronls, from an fipistlt- to 'rhomaa Watson, constitute 
the whole of the external evidence to which au editor can point of 
Lyiy having ever written verae of a lyrical natuni. It itt neither a very 
clear nor a veiy full confession. Prolwibly nmny lovers of literature who 
art' in the Imbit «f rcganling Lyly as one of the choicest of the 
£li2u1)uthan aongstcru, will Im mirprisKtl to learn thai nothing is heard 
of tho authonihip of the poema on which hie reputation in this line is 
based, till hv had Ixjcn reposing for ovit n quarter of a century in the 
vaults of8t Bartholomew the LesB. This i» remarkable; still luoi-e so 
id the fact that no critic has ever fairly faced the quvstion of authenticity, 
'or OD'leavoured to collect and appmi.se the available evidence. Although 
I not hopeful of arriving ul any detinitL- conclusion in the matter, I have 
(bought that some more or less detailed discussion might not be amiss, 
if only with a vicv to clc*riDg the ground for further investigation. 

The firet problem is to define the area of inquiiy. Besides the 
eight plnp of undoubted authorship, there have been ascribed to Lyly 
ootnedy entitled Th4 Maid's Metamorfh'ms, aeveml ' Entertainnients,' 
id n considerable mass of anonymous vi.-t«c from viirious ]>rintcd and 
manuscript collections. These latter need not detain 119. Of the 
seventy-three poems ascribed to Lyly by Mr Bond in his recent edition, 
•overal have since been shown to bo unquestionably the work of other 
writ«re. This 6ict proves that the intenial cvidencw u|)on which the 
Mcriptions were made mu of an inadequate character. So also with 
ih*' ' EnUjrtaitimt-nts.' The attempt to coniicc^t Lyly with the Office of 
th« ReveU liaving fiiilod, there is no external evidence to associate him 



44 



The Authorship of the Songs in Lyly's Plays 



with these semi-dramatic performances. While, moreover, the bulk of 
the lyric vense they contain might have been wribten by anybody, the 
only piece nf conspicuous merit is not only assigned to Nicholas Breton 
oil excellent printed and maiiiuicript authority, but is as like thai {MJet's 
work as it is unlike any of the songs found in Lyly's plays. 

The anthunihip of the Maid's Melamorphoseui \» a more complicated 
question, and must be considered in some detail. EVinted in 1000, it 
ysBA first ascril«-d to Lyly in Edwunl Archer's uttaloguu in 1U36. This 
attribution was endorsed in lliCl by Francis Kirkmau, and in 1687 by 
William Winstanlpy in his Lives of the English t'oet-t. The latter, 
bowL'ver, iiiJj)LMLnt tu have confused thi: play with Love's JUetamurpkosis, 
which he omits. Winstanley was followed by Langbaine and by all 
•ubsu<|iicnt biblidgmphtTs down to Halliwelt in 1860. Mr Bond suppuat;** 
Collier to have been the first to hint a doubt, and quotes the words 
'attributed doubtfully to Lyly' finom his History of Dramatic Poetry 
(iiL p. 12) ; but the " doubtfully ' is an insertion which first appeared in 
the edition of 1879. Cona^qucntly Fairholt, who excluded the piece 
from his edition of the plays in 1858, must be regarded as the firat to 
question the bradition. Since he wrote, it baa been gencnilly recogoiitod 
that Lyly's cliiJin, al any rate to the sole authoi'ship of the piece, is 
unfounded. Mr Gosso suggested Day as the author, a view perhaps 
mther hastily endorsed by Mr Bulk-n, and later by Mr Bund, who, 
however, is inclined to see Lyly's hand in the prose scenes )i. ii. and 
III. ii., as iiIho in thu duet in IV. ii. anil the Knai snug in V. ii. Mr l'1i;ny, 
on the other hand, is confident in assiguing the bulk tif the play, which 
in in vernc, tn Daniel, and ri. ii. and ui. ii. to Lyly. He makes no 
mention of the songa. 

With the ascription to Day we need not here concern ourselvca, 
I do not, for my own part, find much rcocmblance with Day's undoubted 
work, and Mr Fleay has raised historical objections of soiuc weight. 
The other theoricM involve a dual authorship. This I see no sufficient 
reason to allow. Mr Fleay writes that the pnise scenes 'are clearly 
insertions by a second hand,' but this method of splitting up pla>-8 is 
one of which he is perhaps over-fond, and nut uufrequeutly raised 
greater difficulties than it soIvcd. In the present case it is tnic that 
the serious and comic parts are written in two veiy distinct styles, bub 
the author, whoever he may have been, was obviously a beginner in 
the art and relied largely on imitation. Since, aa Collier long ago 
observed, he imitated Spenser in mtiny of the verse passages of the 
pUy, why should he not have imitated Lyly in the proee acenea 1 There 




W. W. QRBO 



45 



are niso oertnin considerations that directly point to a unity of author* 

ship. Thus in II. i. vcrst! and \tmm are intimateiy associated ; yet the 

lAtt*r closely resembles io style that of the comic acunos. Moivovcr, 

the paf^e Joculo, dpoaking in prxfac. adopts the rather tiniisaal device 

of oddru^tng the audience directly, which device b also resorted to 

by Eur^iniDe io a v«rB« speech in m. i. Tu Daiiiulfl authorship of 

the verae part there are objections which appear %:• mv inau|tcn\.ble. 

Mr Flfay wriw-s: ' [)ani«l had, «t the death of Spenser, ISOi). become 

Court poet, and the style of most of the play ia juat tliat of hi« earlier 

dmntatic work. The fonduoss for rhyme, the iiitroductii>n of Juno, Iri», 

and Sotnnua in ii. 1 (some of the very words are repeated in his Vition 

of the Tuvive Oodd-essa, 1604), the tall of the metre, and the pastoral 

plot all point to r>aniel ns the ro&in nathor.' Xow, tho alleged parallels 

between the Maid's Metamorphosis and Daniel's Vtaion, appear, like 

others that could be cited, to txist chioHy in Mr Fleay's imagination, 

for Mr Bond declares that he has looked for them in vain, and ro have L 

Tht only n>«<>mblanoo lies in thi> [nsl words of Somnn» in either case; 

in the masqnc : * lie to slet-jje againe * ; in the play : " And 1 to sleejte, bb 

fret AS I can hie.' Tt may be sufficient to rcmarlc that Ovid, in the 

passage that both jwets wen; imitating, hud wriltHn : ' nirsiis niolli 

langnore solutuu dt'p(i«uiti|iiP caput sirsiUxjut' rfjctnididit alut' (Met. xi. 

648). The nature of the plot I ri>gnrd osodb of theRtrongestargumontA 

ngniiist Daniel's authorship. It would, indeed, retjuin.' very cogent 

proL.f to convince me that the [xiet who a few yesirs later was to be the 

chief exponent of the orthodox Italian tmdition in piuttoral, was in 1 600 

engagi^ in the composition uf thu), the i^arliivit and perha]w the nioHt 

notable play of the mixed pastornl-courtly- mythological t^^pe. The 

vifmo, lastly, ia in a totally different manner. Daniel's in iwlished ajid 

<>ven. rarely either soaring or contemptible, but with a tendency to 

ptvtty flabbinetsi; the rimes are uaunlly alternate. That of tlie Mai(C* 

if^amorjJtosis is experimental, imiiative. amateuTi»h, otlen careless 

And rugged, then again at times pointed and nervous, throughout 

extraordinarily unequal ; the rimes are usually in couplet*. Daniel 

never ftank ro the laiuity of sumo pawtagett that might bv ijuuted fntm 

the play, oor did he ever succeed in beating out such haunting music 

M that of the line« describing Abalanta, when 

with hor tminn of nymphH attendiiig on 
She oamo Ui hunt ttio Bare i>f n<Uy<loit. (i. i. 328.) 

is more to be said in ^vour of Lyiy's authni-ship of the prose 
I and of the twngs. for the fonuer at any rate, if not by him, were 



46 The Authorship of tfie Songs in l^hjs Plays 

at least compoacd under his immediate inflimnce. I am, nevertheless, 

inclined to quesbivu the Mcriplion. The waggish pages nf Lyiy uarly 

paaeed into tnulition, eMpeciuUy pitatornl tradilioii. and though the 

likeness to the original is certainly clos-er in the present play than 

eWwhurtt, it can hardly he argued that the scenes in question would 

have been bt^yond the powunt of a clever iinlbabor. Moreover, though 

Lyiy is by no means invariably decormis in his jesta, he never quite 

condfaconilfd to ihu level uf ehildish obscenity touched in certain 

passages of the MaifTs Metamorphosis. SymonHs, again, declared that 

' the lyrics are not in Vw nKumcr,' and though the doubt as to whether 

those commonly ascribe*! to him are really the work of one man snggests 

caution, 1 think that in the more diatinguished examploe at least a 

different hand may be traced. Thus the songs in Lyly's plays contain 

nothing in the style of the foUovfing intricate jingles from Euij'mine'a 

prayer in I. i. : 

Ya mend Frrw, «i<i ^Kwism ubove, 
PoTge of deairen, trorkiug U»'e, 
Caat dowiiQ your ayo, cast downe jfouT eye 
Upou a Majrde in Diisone. 

Nor do we find anything at all comparable to the striking crescendo of 
aiitiphoiial effect in the duet between the shepherd and the woodman 
in IV. ii. : 

(JemuCo. As littlo LiuhIkm lift up tlieir Hauwic sidea, 

WliMi iiiDiiiiLitig Liirke salutes tbe gray-eyed inom^^ 

SUvio. Aa from lh« Onkeii Leaves the bonie glides, 

Where Nightingales record Upon the thome — 

Oan. !So rise uiy thoughts — 

SU. Sii nil mjr itencw clioure — 

&«n. When 8h« tiurveym my docbt — 

Sit. ' And Kbe my Deore^ 

Gem. Kurymiue ! 

Ota, Ooin« fooitb ! 

^*r. Coiii« fiiortli ! 

r/fiH. Curue fuortli and oheam these plniius ! 

Bath. Eurymine, oome fuorth aad cheora tbeas jdaiitu — 

S^. The Wi>od>imuiH Love — 

0tm. And htiAy of the Swaynes! 

In considering Lyly's chiim to bo regarded as a lyriat, wc may then, 
I thick, confine our attention to the songs contained in the eight plays 
of imdoubtod authorship. According to Mr Bond, these plays originally 
contained thirty-two songB. With two exceptions, however, these are 
all omitted in the original quartos. The exceptions occtir in the 
Woman in the Moon. They appear to have been retained by an over- 
sight, being printed as part of the dialogue, from which Mr Bood takes 



W. W. OREO 



47 



* 



» 



Ui hinwelf Hjme credit for disentiuigling them. I>ainty enough in their 
way. they axe yet such w any literary hack of the time might have 
BTittcn. The play also contained orher snngs which have disapiwared, 
aK hare thoae that once adorned Love's Metamorphosis; th(;ae iwu pieces 
being pnly preserved in the original quartos. The attribution of the 
remaining songs entirely Ucka contemponu-y authority. Moreover, when 
thry appcAj. they do so in a manner well calculated to aron!«e H».spicion. 
It was as late as 1632. iianiL-ly. tljul Edward Blount ijwned his 
Sub CohH Com«tief, containing all Lyiy's previously published plays, 
with the exception of the two mentioned above. In this collection 
the remaining twunty-unc extant song« tir»b a[ipeait!d. Had Blount 
printed the ptays from &u independent uiimuscript source, there would 
have b<M;n no fst«mal leaeon to quralion thf: authenticity nf any naw 
matter they utight happen to contain. But this was not* the case. 
As Mr Bond has shown, the Six Court Comedies were printed from 
the quartos, and in case« where a choice was possible from the latest 
and meet corrupt. The nongs mut^t, therefore, have !)ccn ahtain»d 
independently, aoid the ijuestion arises, whence. Had Blount procured 
thi) actual Acore as originally distributed to the actors, he would surely 
have blaitoncd the fact in his prefatory epistle, or even upon the title- 
jiogc of the work. Hud the pieces reprinted still held the stage we 
might have Bup]iosod that ho had obtained from the playhouse the 
songs then in use , but nothing is more certain than that not one o( 
Lyiy's pbiys had been actc-d ibr a quarter of a contmy or more. On 
the other hand the verses first printed in hie volume were no fortiiitou* 
collection of contemporary lyrics. Several at least were written fov the 
puaiticKis they now occupy. Can he have commissioned some poet of 
the time to supply the deficiencies cither by judicious adaptation, or by 
original eompn«itif>n ? There is one sentpnne in his epistle 'To the 
Render * which may conceivably bear upon the point. ' Those Papers 
of his/ writes Blount, 'lay like dead I^wrets ih a Churchyard; But 
1 have gnlhered the scattered bmnches up, and by n Charme (gotten 
fmm A|>ollii) made them grei^ut! againe, and set them up aa Epitaphes 
lo his Memory.' The 'Charme gotten tvom Apollo' must surely, even 
in publisher'H hyjierbole, mean .lomt^thing beyond the meru fact of 
rr^trinung, He may conceivablv havt- been referring to the acceptance 
of the derlicntion by Lonl Lnmley, or he may have had in luind the 
vupplying of defocta in the earlier editions; it would indeed be an 
over-modest way of referring to the recovery of aomo of his author's 
cfaoicesi work. Let us examine the songs more closely. 




48 The Authoi'ship of the Songs in Lyly's Pltxys 



The twenty-one lyrica in queslioo were all printed for the first time 
in Bloimt'a collection. Id two cas«s, however, a song re-appeared in 
another work which, though printed at a later dale, bad been written 
Bwlier. They urc the firet ami ihJrd songs in Campaape. Of these 
•O for a Bowie of fatt Canaiy. Kich Palermo, sparkling Sherry,* occurs 
with alight variatidna in Middlcton's play, A Mad World, my Matters. 
Thia was first printed in 1608, but the song is mil found until the 
Bocond edition in 1640. Middleton's version diflfers ft>>ra Blount's in 
reading ' Aristippns ' for ' Palermo ' in 1. 2. and ' come down ' for * k^ape 
down ' in 1. 16. I take Blount's to be the original. Of course, the 
insftrtion of the verses in Middleton's play in 1640, afler they had 
ap]iearod in the collection of 1632, is not of much consequence. It 
fthontd, however, be remarked that they are not merely inserted to fill 
n gap in the lost, but dcdibenilely ndded at the end with the heading: 
* The Catch for the Fifth Act, sung by Sir Bonnteoii» Progreane to his 
Gueats.' I have no doubt chut, whatever may have Iieen the origin of 
the Bong, it formed jiart of the play aa acted at Haiisbury Cuurt. 
Mr HuUcn thinks that* perhaps neithor Middleton nor Lyiy wrote it.' 
Possibly; but I woukl suggest n comjmrison with another snng in 
Middleton's Spanish (fip»}f, a play first printed in IG53 though acted 
thirty years before. The »ong, "Trip it, gipKies, trip it fine.' occurs in 
in. i., and will be fuund, I think, to prjHseBs several poinl» of slniilarity 
with that printed by Blount, especially in the use of ' girls ' for the luore 
UHiinl ' weuehes." and in th« alluKiontt to various different wiues. At 
least. I would a»k Auy reader whether, after comparing the two, he 
thinks it likely that one should belong to about 1580 and the other to 
about 1020. I should remark that the earliest literary reference ty 
Canary wine is thirteen years later than the first edition of Campaupe, 
which itp]ie«red in 1.5ft4. It was, indeed, known earlier than this, for 
we rind in Holiualied's Description of England (bk. u. ch. 6) mention 
not 'of Miinll wiutm onliu, as Claret, Whitv, Kcd, French, 6k: which 
amount to about tiflie mx sorts, according to the number of ivgious 
fi-oia whene*' they conn-: but also of the thirtie kinds of Italian, 
Orociau, Spanish. Canarion. &c : whereof Vervoge. Cate pumeut, Rospis, 
Muscadell, Bomnie, Ba-ttard Tire. Oseie. Caprike, Clareie & Malmeseie 
are not least of all accoinptcd of, bicausL' uf their strength and valure ' 
(CAroniolM, 1587, i. p. 167; the paseagt' is not found in the earlier 
edition). It does not, however, follow thai the ' Cauarian ' wixR- was 
known aa ' Canary/ or that it was u popular fiivonrite, a« it must hove 
been when the aong was written; but nither the reverse. The fiist 



I 



i 



W. W. OHBO 



49 



lb 




tnontion of its importation I h&ve be&n abli; to Rad tn the Calendar of 
StAto Papers ia in June, 1597, nutl it was certainly uut till the HCven- 
tLtrnth century thai it began, together with Malaga, to superaede the 
older Xenjs aack m populur Lfttiiiuibiuii. Still more (tuggeativc m the 
filct that Palermo ii» only kno'wn as a wine from this passage and from 
a reference in Maasingur'* Maid of Honour (ill. i.). which like Blount's 
Collection first appeared in 1632. Ari»tippiia yfa» a. canl name for 
Caniu-y, and aUu appears late, though it ttiu«t have beon curmnl in 1 6110 
when Randolph published his cliit of the name. 

The other song in question roiipiioara in u rather different form in 
the Sun's Darling, a mask or play by Dekker and Ford, which, though 
not printed till lUdO, woe written about 1(324. I give the two voraions 
in parallel columns : 

Camfatfr, \t»i. 

WliAt Bird H wiKm r«> "o dm irafleT 
O t'in the mriiih'd NiitbtiDicalp. 
Jog, JtiR. Jug. JuK. Wrea, tJico t,ryt», 
Aod bIUI ber worn al Muliiiuht im. 
BrkT,> piick nons! wlirt ib'i how wv heare? 
Kuna but th» E^rk^i m slirill ftnd olMm; 
How si beaVMii gale tUi* claps h«r winga. 
The Monw not wakjuii till Hoee ainKn- 
Btafk, heuk. witli wlial n pretty ttiroat 
Pouiv 111. Lin reil'liit«.ii lunn bin note: 
Bc*rk lion Ibe joU; Cuakvt* «ui|t 
Oniakov, to waWma in tbo (piiaK. 
CoekfM, to wuloomo in tha *]>Tint;. 

U will be important to ascertain which of these fomis is the original: 
there can be no question that Blount's is tho more artiatic version. 
Mr Fleay considerti Blount's 'evidently the original': Mr Bond speaks 
of l>ekker'« (which he only knew frora Thotnaa Lylc's Ancimt Ballads 
and Svnga, 1827, where strangely enough it is assigned to Lyly) ns 
' inferior iui<l I think lato.' I doubt thi^. Th«re arc a number of points 
which t-cnd to show that Dekker's version is the original, and Blount's 
careful revision. It will be noticed, in the first place, that Dekke/s 
version divides itwlf into two stanzas with a refrain. This arrangement 
is discarded in Bhtunt'g, but wo still lind a trtice of the refrain in the 
repetition of the Inst line. It is again easier to suppose that a reviaer 
sboald hare altered the fourth line of Dekker's version, which is 
altogether inappropriate to the nightingale, than that the ehangi? should 
hare been in the other direction. Or take the lark. Surely it was the 
«Domotopooic ' locr a leer ' that determined the rimes for the couplet. 
The revi9(?r kept tho fiist line, but TXrkker's grammar was open to 
criticism, and he felt constrained to alter the second in order to obtain 

H. U B. i 



Thf Sun's Tfarting, i6t>6. 

Wliat bird no ricfn, 7»t la dow mil. 
Tia Philomel the KJRhtiiiftak ; 
JiiiU' JoKK. JuKii. Tenie slti* cricv, [Cuokow. 
And bailDH «aitli, to li«av«u tht Sw»— 
Ba, hn, liark, liAi-k. tliu Cuckowe «ii)g 
CD«k(iw, to Wfiicoci in the Spring. 

llrave pnok-kODi!: who la't nov we lifiati 
'Tin tlie Larka tUm leer n leer: 
r)iini|i tile Sparniw flifn away; 
Foi Lcc fcU too't ere brvnk ol day. 
Ila. bn, bark, burk, th« OiiokoowK aiiif: 
CuokbW, ta vraloom in tho Spting. 




50 The Authorship of the Sonffs in LylyA Plays 

a pei-socal consequent to ' who.' The subadtution of the robin for tho 
sparrow seems to hnre been promiited by the same feeling as suggested 
the oTiiission of the mocking "Ha. ha' frmii thy 6nal couplet. The 
(mii»ii(in of the refrain from Dekker's firet stanzn had h-fl. the reviHiun 
shorti'r by two lines than the original, bo the revistr inserted an original 
couplet. This he attached to tlic lark, and there !.•» a presiiinptioii that 
in 8o doing he waji infliienL-ed bv the hirk-wtng iu Ct/rnbeline. a striking 
exprt-Hsion from which he appears to have borrowed. Shake-spearo's 
song had been first, printed iu the folio of 1623. Lswtljr, I would call 
attention to the expression * Brave prick-soiig.' Mr Bond explains 
'prick-song' in his uules a^ 'properly writtL-ti music, alluding to the 
points or dots of musical notation, and applied to the uightingalo's 
eong as more rt-gukrly musical than th«t of other birds.' He refers to 
Nares. That authority, however, n-s revLst-d by Hiilliwull and Wrighb, 
merely q\iobe« the passage li-cim Blount's version; and the explanation 
was pmbubly invented tn auit the particnUr instance. The origin of 
the term ia not quite clear, but it appears to be in general applied 
cither to purti-«ung or counterpoint — in any caae to imply hanuony aa 
opposed to the simple mt-lody of plain song. Now, it will be noticed 
that in Hlonnt'fl vertjion the temi i.H applied to the Hong of the nightin- 
gali: alone, which coukl he nothing but melmly; whercait in Drkker's it 
refers to that of the whole choir of birds, of which harmony or part-song 
could l)o prutlicatcd at Iceust [Hivtically. Here again, therefore, Uckker's 
version would appear to be the original. 

There are, then, several points that suggest a date of compo»itioD 
not very long befui-e that of ijublieation. Our suspicions are confinned 
by wonis and phrases occurring in the other songs firat printed by 
Blount. I may incidentally remark that in()uir>' in this line has been 
somewhat complicated by the fact of the New English Dictionary 
quoting from the aonga under the dates of the original editions, in which 
they do not appear. Several significant phrases may, however, be 
noticed. In the second song in Sappho and Phao, we find the word 
'buttor-box,' a cant term for a Dutchman first used apparently by l-)ekker 
in 1600. In the firat song in Endimion we have the word 'batten,' not 
otherwise recorded before the seventeenth centuiy. Lastly, the first 
song in GalUthea and the first in Afirf/ij both contain the word 'caper' 
in the sense of a dance. This wonl was just beginning to obtain 
currency at the date of the original publication, 1502, but in the first 
instance Mr Bond is almost certainly right in supposing a play on the 
word, with allusion to the sense of privateer, which doc« not occur till 



W. W. OBKfl 



51 



I 



much later. In the Midua song also occurs the cxpresaion 'checkcrwi- 
apron m«D,' which Ihc wHtor is nnly able to explain hy a referonce in 
1$68. It should further be ronmrkt-d that Blount's collbction coutaina 
one other lutilition to the original text of the playa This is the flumb 
show ID Jundimion tl. iii. It is ainiply the representation of the dream 
subscqiivntly related by Kitditnion in v. i. Lyiy does not uau this 
deviwj flsewhere. Mr Bond writes: 'It Is unused by Marlo'we, Lodg^, 
and Xash. It marks, in foci, on earlier date- th«n that at which fhc^e 
dnufiAtist« wrote.' In this he is in error. It was by no means 
infrequent in the scvontocnth century down to the time of Webster, 
nnd therv? i», therefore, nothing improbable in n reviiser having inserted 
it. It 18 true that none of the above conmidomttons can be heUl bo be 
of much wftight individually, but coming on tha top of thy evidenee to 
be derived from the first two songs we conwdered. ihey are to my mind 
nt lonst significant. 

When once the question of the authentieity of the songs has been 
fiiiriy raised, it mnst lie apparent upon what slight groiuids Lyiy'a 
nf|iiitation as a lyrist really reals. It is remarkable that not a single 
allusion exista to him as a songster, though he is frequently mentioned 
M a pwse writer. It is also Hignificant that In the two parts of his 
lengthy novel the only verses introduced are a copy of Latin elegiacs, 
and then; is nothing either in his pn>8e or verse to suggest that he was 
gifted with any lyrical aptitude. In no instance does a song trom hia 
plays occur in any of the early collections whether in print or maiLuscript. 
When the majority of the songs do appear they come before ub in an 
indeed questionable shape. We find ourselves forced to choose between 
two theories On the one hand we may sup]>ofie with Mr Bund that by 
ao«ne fortunate accident Blount was able to procure the original Huore 
of the songs which Lyiy had given to his boys when the plays wtre 
firat p-rfonned, or at least a copy from that original. Such tinho|)e(l- 
fbr chanci^ do occur in the history of letters; Imt the theory involvt^a 
DS in the many serions difficulties I have indicated above. On the 
olhc'r hand we uiay snpposu that Bloiint, in onler to freshen op the 
'dirad I^jiviTels' of the old wit, commissi oneil some contt-mporary poet 
to supply a !icore or so of songs for various places indicated in the text. 
There are certainly objections of an a priori nature t.o this theory-, but 
it seems to uie to involve the fewer difficulties of the two. It also 
suggests an explanation of the vexy var^'ing quality and style of the 
iyncs. since there would no longer be any reason to suppose that they 
were the work of one man. bub might have been collected from a great 

4—2 




52 The Authorship of th^ Songs in Lyly's Plays 



iltcd from tb« early 



varicty of sourctss. The fiict of the mnge b«.-ing 
editions need not suqiriBo iid. The old quartos oniit songs as often as 
not. The consJBtency of the omission, however, is a little uniwual. 
Mr Bond thinks that the importance of the musical rights may have 
been the caymc. It might be )ju^gc-sti.>d, on the other hand, that the 
omission was due to the Eact of their being in themselves of negligible 
literary worth, in many eases vcrj' likely not even original, and in none 
of a naturt? to lend luatre to the elal)orate artistrj- of tho prone. This 
theory certainly receives colour from the two songs which have been, as 
it were aceidentally, prest-n'ed. 

Can WG forro any idea as to who the collector, adapter, and anthor 
of thiR miscelLaiieuus score of lyricH can have been ? Blottnt is hardly 
likely to have done the work himself The naiuo of Thoinws Dekker 
hiLi hiiv^n prominent in the abnve diHciission ; that of ThoinaH MiddJetun 
has also appeni-ed. It should be borne in mind that the two colla* 
borated. Mr Fleay, noting tliat the Hoiig in the Suh'm Darliiig is alsu 
found in Blount's oollectton, reiuarkK: ' Thin would lead one to suiipoHe 
that the other songK in that cilitinn which do not appear in the earlier 
editionH are also by Dekker. I for cme believe them to be sa' The 
conclusion may be hasty, but not more Hasty tlian that of critics who 
have accepted them as the iinHoubtnd wnrk of Lyiy. Dekkir was haul 
put to it for a living in his later years, and glad of imything that his 
pen coidd earn. In 1631, according to Mr Fleay, he had sunk so far 
as to publish old plays -mly parlially his. Wae it at thiis tliue thai he 
undertook Blount's commipsion ? If so one can only hope that he 
received the remuneration of his labours in time to relievo the necessity 
of his \aiA days. Uis death occurred the y^ar of the publication of 
the Six Court Comediet. 



W. W. Gre«. 



SHAKESPEARUNA. 



<1) Ttntput. iii. 2, G3 : 

SttpAaiw. That's moat oettaio. 

The context seems to me to favour the transferring of these words 
to the invisible Ariel. 

(2) Tempett. iv. 1. 179: 

calf-tike cbey mv luwiiif* fullow'd. througb 
Tooth'd liriaiv, sharp furzes, prickinj; goaa and thortw 
Wljidi «nt«r<.Ml tVieir frsil >«tiiii8 ■ at la^t I left th«ni 
r the tilthy-tnnntlfid poril Wyond vi>nr oell, 
TLere dancing mi to the chiDit, that tho foul Ulu 
(yentunk their ket 

Ariel's performaoce was perhaps suggvHted hy Marlowe's Faiistus, 
rw.2: 

Ov, Bclimoth, nntl Utke tbi» oaitjft' hnuoc^ 
Ami >iiirl him in noinc Uki^ nr uiiid »nd dirt.: 
Taki! tbixi tlii.1 olliur, dmg Iiiiii thnni^h the woods 
Aiuoufpit the pridciitg thoniit und HhAi-pent briars. 

"(») // Benrt/ IV. iii. 2. 339: 

m' cHm« tn'fir in tbi* rmnvan) (F, rcnrwArd) or the faxhiaa. 

The phmse recure in Bt-n Jonaons Cyii^tia's Bevels (in which other 

Shakespearian echoes have been noted, especially a iMssaji[e in ii, 8, 

€M:hmng Julius Caesar, v, 5, 73 — 75, and one in v, 6, echoing Midsummer 

yight'e l>ream, v. 1. 82. 83), ir, 1 ; 

m conntre]' ladic. bbat coiul's ever i' the rereward, or traine of a 
fiwhioti. 

(4) Rkhnrd HI, v, 3 : 

When. Shakespeare made the ghostp on the eve of BoBworth reiterate 

Ui«ir ' Duapfur and diu' to thv Hievping king, had he in mind the la&t 

words of Mcphistopbelis to Faiuttus {Faimtits, v, 11) ? 

All KnuMtus, now thou hoitt no hogir i>r huAven, 
ThcR^orc (l<.w{nir ; think uulj- u|k)ii ht^ll ; 
Pur tluiL iiiunt Iw thy mnimion Uirre to dtvell.... 
What, weei>'>ft thou I 'tis uw Inie, (U-niiair ! KarowcU ! 
VooU tbut will laugh on earth iuubI wcc^i in bcU. 



54 Shakespeariana 

(5) Coriolanus, in, 2, 39: 

Volumnia. Vou tm too Absolute ; 

Though tlicrciiii }-oii car never bo too nobl«, 
Bitt w]i«n oitrcmitiot t^pcnk. I hftvo hoard you wy 
Bon^ur nnd p>>li>;y, tiko iiniti''VC'r'il friemAn 
V the war do grow togothei-. 

This is how ib stands in the First Folio. Surely the sense is much 

improved by a iilight chnDge : 

Vnu Are too iLljaoliite, 
TlioiiKh lLei«iii you c«u never be too noble : 
But, when cxtrciuitiea apcnk. (1 have heard joii Bay), 
IJoDouT uid jKilicy, like uunct-nr'd friuodB otc 

(6) Borneo and Juliet^ iv, 3, 57 : 

Julkt. »l«v. Tybftlt, stuy ; 

RouttM, 1 oucue ! this do 1 drink tv tlive ! 

Thia — the text of the First Quarto — has been adopted by moet 
odit'irx from Pojie onwards. Thene last wonla of Juliet, before drinking 
the [wtion, w(.>n_' [xThiij)* s.riggest^^'d by the last line of Marlowe's Dido: 
Now, svrcot Icirbiu stay 1 1 come to thee (tStt i«rttl/). 

(7) ^fad)eth. iv, 6, 5: 
The editors of Th« Spatnsk Tragedy point out various phrases 

that play which were afterwards borrcwwi by Shakespeare. OnST 

however, tliey appear to have overlctokcd. lu the aljovo p«8Sage of 

MiMbtftk Lennox is talking ironically of the mysterious death of 

Banqiio : 

And the rijtht-vidiAiit Ritnqao waJlt'd too ktc ; 
Whom, you inav *»)■, if 't |ilo(i)w yoii, FlrAiioe kill'il, 
For Flwrnc'' tiod : tiioii riiu»t not vrn-lk. too Intc. 

How much sdditluiml point is given to those lines when we note 
that they were spoken to an audience familiar with the following linos 
of jfT6« Spaituk Tmgedy ! Art iii, sc 3, lino 38 CTeuiplG Di-amatists ') : 

3*t/ Wati^Iimnti. Sirrah, coiifoaa &ni therein ^tlay the [irioot, 
Why hant thuii lliu.* unkindly kill'd the mnn 7 

Ptdriju/aiM. Why ! bociuiiio lie walk'd nbroikd m lute. 

ird HatfAnan. Come, mr, you had been bcttw kept your bed, 
Than hnw oommitied thi.-< miwiw-tl ao Lit*. 



G. C Moore Smith. 



A GERMAN VERSION OF THE THIEF-LEGEND. 



A>tf>N«sT tbo many medievaj lejfends of the Virgin Mary which 
tve been jireservcd to an. that of Ihc tbiof who was saved (roni the 
ill<>ws ty the interveution of the Virgin Jteeuis to have btien _par- 
ticularlv popular, for there is hardly a collection whioh does not amtaiii 
it JD some form'. The Thief-story existed, however, iii ita main outliucB 
sfore the cult of the \'ir^n became sv wide-apread aa to cause many of 
le miraculous occurrences, fonnciiy attributed to the- interveutiou oi" 
•nmts or to other causes, to bo placed without diHcriiainatioii to the 
credit of Our Lady. In the life of St Bomard, for example, we read 
that that saint, happening to meet a thivf who was ahnut to be crucified 
for his sins, saved him from the physical punishment of the cross in 
>rder that he might take up the true croag of religion*. There is a 
'mora interesting story contaimni io the ViUts patrum, which telle of a 
rohber-chiof named Cynaciis, sumamed ' the wolf,' whose life was pre- 
serve! fnr tenyeare as a reward for having swvt^d the lives of some little 
children ; there ia no mention of the Virgin, or even of a saint, but the 
children nppciu- to hitu frequently in his dreams, saying: " Noli timere, 
nu6 |)ru U' liatiaiacimuB*.' In the collectiuiis uf Latin legends, however, 
the sl->ry' has already assumed a more definite fonn, and has devL'Iii|>t^d 
into a legend nf n vei^* cnmm<in type. A thief, generally called Eppo 
Of Ebbo, is sustained for three days on the gallows by the Virgin, who 
plae^K her hands beneath hia feet, as a rewnni for his having venerated 
her *ex corde' during his lifetime. The attempt to cut the thiers 
thnmt is also frustrated by the Virgin who w-ards off the sword with 
her hand. The thief is releaned in recognition of the miracle and im- 

■ Sum* Idt* niAj b* (ormtMl at iu pn|iiilMit}' tiy miorancc to MaamJIa'A CtnMifientjon 
of tba iSuyh^Kmit in the O'lVncr HilimrtgnhrUhU, ^olk US, 115, 119. Cp. aitv Want's 
Caialonitt "J i?iMaiintA, ti, p. SAG f. 

' Vita jtriKM ; Liber vij. C«p. s* : lit latnme a crvH tupplino prr S. ti. Ubfrato, *fi 
tTM rvlfgloto drfncriM aMieto, 

* Ulsn'^ fitat patram, vol. 74. |>. 'J03. Cap. dii: I'l'ln latiwUi nancapati Cyriaci. 



56 



A German Vernon of the Tkief-leffend 



mediately enteni a itinnasteiy'. But there is another thief-stnrj', which, 
filttiougli resting ou tliu sniiie fuiiiidutiunM, iiaa dev(-lo|»<(l in a (Ufferont 
manDcr. In this the thief is one of three brnther-knights who have 
taken to robbery. They are all three captured and condemned t*i the 
gnJlown. Two of tln^m are hangttti, but the thin! desirR!! confcasion, and, 
in spite of all tfae efforts made to kill hiiD, he is miraculously kept alive 
until hi! has rBC<^iv<'d absolution, wherpupon, as the story proceeds to 
relate, ' statini mortuus est-.' 

From the contaminatiun i>f thu»n two legendii resulted the simple 
story of the robber-kiiight. who. as a reward for his unfading veuemtion 
of the Vir^n during his lifetime, in preserved from death until an 
opportunity lia^t been groutud him of coufeasiug and receiving absolution. 
There can be no doubt that this version of the legend existed in [<atiD 
MBS. of the thirteenth and fourteenth cenluric-a, us the story is pru- 
eerved in this form in at lea** four different languages, French, Spanish. 
Dutch and Germiin. In Old French it is found in all three fomttt. As 
related by Oautier de Coinci*. the legend follows closely the Latin 
BtoHett nf Epjm the thief; in a MS. of the fifteenth century, described 
by Tobler (Trots /teres getttilt homes mtoient, etc.)*, we find the storj- of 
the three brother-knights, one of whom is saved in order that he may 
conf(»ief, while an unpublished AngUi-uorman poem contained in US. 
Royal sx B. xiv (fol. 169) of the British Museum, gives the third version 
of the thief-stoty, which has b^cn described as a rxintaminntion of the 
other two. Herf we have a knight who is forced to take t-o robbery 
because he has squandered alt his posKessions. Thanks to the ' angeline 
salutation,' which he has never omitted to perform, he is kept alive by 
Vhe Virgin with a spear through his heart until he haa confe-ised his 
nil8 and received absolution frum a prie»t, whereupon he iuiuiediattdy 
falls dovn dead: 'Kant tut out dit iuAmortchai.' Amongst the Spaninh 
kgends we find tfae ordinary Eppo-story (although the name is not 
nidntioDod), in which tho thiof was taken down irom the gallowii, * e alli 
fina 808 dies a servey e pleer de noeti-e senyor Ucua e de 1& Verge 
gloriosa umre sua ' — the only variation from the Latin source being that 
thero is no attempt here to cut the thief's throat. In the same coUoc- 

■ Thin Latin Ktoir bu btwn pafaliahod bj WriRlit for tha Psra? Sooiaty. Na 109, l»ia t 

alta t>j VUABer, MaritnlffffHiUn, p, S6^. 

' Leooj de In Mftiabc, AnteJata huu/riquen. Uftnd*« tt apulasHU i'f'.tienae de D<mrhon, 
p. lOa. Nn. 1C9 b. 

' Edition by Pocquet. LivK ii : Itu larron qui *f eattitnandoit a natire dame. 

* A. Tobler, Ki'rif handicJirffllithf Samvi.lutig ati/ramimUeher Ltyendttt (Jakrhuett fiir 
nmuin. undrnpl. Lilterutur, Bd. 7. S>. 



I 

I 



L 



JESSrB CROSLANO 



57 



tion' is to be fouod i\\n legenJ of the 'cavalier rnbadtif" who in wimI to 
hnvo been condemned by the ' Emjierndar Frederieh.' After huviiig' 
hung for three days on the gailows, ho in luund still living by another 
knight, whom he informs that he cnnnot die without confession^ becauso 
J)(! hud never allowed a day to ]jaaH without reiipjiting ' tres Pater nost«r 

tres Ave marias a honor de la Trinitat, e V [lateniosler u honor de les 
V plaqueH tie Jenucrisl, e un ])atemi>ster a honor del angel n qui jo son 
comoDflt, G ftltn* [>atenio8ter a honor del saut cora de Bou.' He begs 
his friend t(t send fur a prieHt to whom he may confess, ' e tentogt It 

eran veuir un clergue e euiifessas, e H]ires ah gnin devo<;io cotnbreqna; 
I aprefl decontinent rete la nnima a Jesucrist.' We find these same two 
legeods in the mudievitl Dutch tollectimui; the Rpjro-story (again with- 
out the name), which concludes with the following wotds: 'Doe dab 
voor den rechter quam, doe dwie he den dief of doen vonder galjjheu 
«Dd« die dief ghiiig nitehants in etni clouster ende diende gode endesyn 
Beve troesterinne Maria die inaghet ende mooter godes nl syn leven 
lane*': and the other veraioii. in which the severent ill-treatment is 
inefteclivp in putting an end lo the thief's life until he ha* been 
granted an opportunity of cunfetwion : ' man sleepten hem, men hinc 
h^in. men sloech hem mit scaxpon swa«rden, men mochte hem in 
gheenre wj's doden.* As soon as he has received absolution, ' dtte starf 
hi 1« lianta emli hi voer te hemelrycV 

In German literature the legend apjvears in similar forma. The 
Eppn-versinn. pnblisheil by Pfeiffer'. follows the Latin originals, except. 
that, as in both S|>aui8b and Dutch, the name and the episode of the 
swnrd are omitted. Another version, of which the text is here publiithcid 
for the first time, 'm contained in mm. All. 150 nf the Bibliothofjue 
nationale. As in the Anglo-norman and Si«ini«h .Htorict, the rubber- 
knighc ia forced to take to rubbing his friends and neighbours ' umb 
lybei nar.' Here. ton. he is seen on the gallows ami ijucstioncd by a 
piiMiitig friend, who fetcbvii u priest at lua earnest request, and no sooner 
hAK he cnnfesHc<) than he fnllH down dead, nothing remaining of him hut 
a little heap of ashes on the ground*. The author of the German poem 
mentionti an hu> source, the Vitax pntrum-, and it is possible that ho bad 

I KmuU dt erimtflU t miraeUt, gtdtt* t /.nlea, eta.. Ji, No. oaecw (p. ii); No. ddi 

t».9l8V 

» C O, N. ij» Voof», MrMeliititfrlanitte XluTiaUnrniten (Mnattelmppti Aer ii«ibr> 
tMtJUfhrn Lrfltrfmnitt, i, xxt,\. 

' C. Q. N. iliT Vtiojs, UittilttnetlrTlaiiiUr Ifgertrlrn m ccetnpeln, p. 106 f. 

* MaritnUgtntlrti. No. fl, p. 41. 

■ A» i>Ti«l«ocB of tLc Ca*oiir which tbin tv»<t>n<l faietj»d in Germany. Ptofonr 
Bl rnsfawli wUs in* Uiat an early thirleentli century frngioeDt of a luynuui'a braTiuf, 



58 



A German Version of the Tkkf-lege^id 



the storj' of C^Tiaciis in his minil. hut it is more probable that, as was 
8o ofleD the Ciisc nt thut tiiiif, Iil- wished to give a wnrtby !«»urce fur hia 
own poem and pretended that he hod found the subject in the Vitas 
pairum. which wiia ii never fuiliiig sourix- of ' uxcmpln " for the preachers 
and didactic writers of the Middle Xgvs. 

iis. All. 150 of the Bibliotheque nalionAle is protected bv old 
wooden coven* iind conbiiiui two Mss. written rwipcetivelj in 1418 (ind 
1419'. The fin«t of these cousiete of the translation by Otto von 
Diemeringcn of Mandeville's Tnivele in the Qriont; the second con- 
tains, besides the preaent poeia. (1) ati extract from the chronicle of 
Ttvingi'r of Kfinigahofen (fol. 202''-24-5'): {2) a didactic poi-ia called Dea 
vieiater Albertus Mnt (fo!. 263-268. continued, fol. 34.>-356) : (3> a 
poem on the fifteen signs before judgment, and the jiidgnieni itecif 
(fol. 281-292''); A poem entitled Von Jtsm dem aritt. The writer of 
the Second MS. cjills himself at the end (fol. 356) 'Corin ein gut gesolle," 
and, according to another entry (fol. 344'^), the M8. was written at 
Spires in 1419. 

The following rhymes are of importance in determining the home of 
the author: rj-den : vermyden {S5); tjTi< ligen : hcuficlyn (115) (cp. 
Zeitschi: f. deut. Altaium, xUv, p, 401 : Rieger. Dn^ Leben der heiligen 
Elisabeth, p, 30); gesat < gesaget : pfat (.^7) (cp. Heinzel, Gesch. der 
fiedtrfrdn/c. Geichd/Usprache, Tvpus \-ii ; Weinhohl, Afhd. G^rammatil; 
§33); instead of vorzeitimeit (73-74), we niuat therefore read either 
Teraat : mat, or as in li'i-lU, verzaget : niaget; lychainen ; fttncn (III) 
(q). Mtiria Himmelfahrt, I. 1843, in the Zettschr. /. deut. Atterlum, v) 
points to lychfimen (ep. ZeiUcfir. /. detit. Alt, xlv. p. 96), but that the 
short fomi was lined tu* well is proved by the rhyme lychanien : tianien 
(lOlX Bchult : holt (l)St) (cp. Weinhold. ^ 74); konigin : sin (40, 107) 
(cp. Zeitschr. /. dent. Alt., xlv, i>.7«); the infinitives with apcwope of 
-n. geitvde ; l>yde (27); wv^st : piu-adyse (105). where the full forms are 
only due to the eopyist. These rhymes speak for Middle fieminny. The 
poet'g home cannot have been far from thai of tho scribe, namely in 
RhfMish rmtironia : that he, however, did not belong t« the 'rein- 
reiiiienden ' Francuuiaii puel» is shuwn by the rh^ine* ft : fl iji masculine 



I 

1 



(omcrl; iu llic powcmhod of tlic wcll.known I'sstor Obcilin, now mb. LaL 0877 of lh« 
Bibtlolli&(|Ue iiaiaonale. coiiiami nsll-Bn'Ctiiad ci>Iouk>J peD-ilmwInm lo »<m»l SUrr- 
Ic^gi^ni* (Thoi>[ibilu>. the drnniiinq M-nmnii. cu.). On<i of th«iu KfTMeiiix tho Virgin 
BtiHUiiiiiig tliH Ti):bl Brm uf a huugiug kniKbt, niiil uii llt» luurKUi h iMiiiL«iui)ur»r7 baod 
liM writti'n 'Hiv lodidul timpr {rvre einoii nrhnnRCDpn.' 

I A dotniW d«soriplioii of the »». 'Containing the poem hftii bren tent bj' WoIc-alor 
PricbHli to the Archiv dcr prcuttUchtm AkartemU der WUtrmeha/ttn. 




JESSIC 0R03LAND 



59 



endings: gesat : pfat (51\ man : getaii (59); he also does not shrink from 
fi:6, as got: not (65), noch : /och (71). and &:6, in verzerc-t : It-imt <9). 

With regard to the metre, the rule of four lifts and masculine 
rhvmes, threti lifts iind feminine rhymes (in the pruportinn of twelve of 
the former to five of the latu-r) is observed, the only exception being 
lines 17, 18, which have four lifts notn*ithHtaiiding the feminine rhvmo. 
As DO conclusion cad be drawti fmtn the rhymes, with regard to upocupe 
and syncwpc, it is necessary to allow f»r di|w of two syllables in lines I, 
17, 26, 30, 36. 42. 48. 50. 55. 88. 121. * Auftakt ' of two syllables occurs 
in lines 16, 34, 35. 36. 38, 44. 55. 60. 94. 95, 131 ; ' beschwerte Hebimg ' 
ill lines C, 9. U. 12. 13. 25. 29. 70. 75. 84. 8*1. 92, 93, 97. 104, 112, 117, 
124, 125; but in nine of these ca-ses the 'beschwerte Betoming" falls on 
words (erbere, nachgai. sprechwort. unwert. boshcit, hdliach, bichtore, 
licSuni. dynstman) where thi- omission of the dip was allowed, even after 
sylUble-counting had supci'soded the tuetliod of acc«:ntuution in the 
rhyme-pairs (cp. Janicke. lieitriiije sur Kritik und Erkklrung d#s Sei/ried 
Helhiing. in Zmlschr. /. deuL AUertutit. xvi, j). 402: and Kmiis, Zur 
JCritik ties Mpirr Helmbreckt, in thi- sjime jonmal, xlvii, p. 306). In three 
of the remaining cases (25. 70. 125). the dip is wonting immediately 
after the second lift, and thus a kind of caesura is formed. It is jiossible 
that lines Sf2, 93 are heavily accentiiateil by the author intentionally 
with a view to producing a certain rhetorical effect suitable to the 
announcement of the priest. In line 3 'vitiix patriim' must be rend with 
' versetater Betonung'; 'Maria' in lines 31 and 74 must bt- scanned 
UdnA, in 107 and 124, Milija. 

As the poem is so short and it is nut possible to differentiate be- 
tween the dialectic peculiarities of author and copyist, the orthography 
of the MS. has been retained. Additions, however, which are obvionaly 
due to the oopyiBt, arc CDcloscd i:i round brackets, emendations of my 
-ovn in square brackets. 1 am also responsible for the punctuation. 

JK.S.HIE CBOSLAND. 



Du 8olt cpen die sybcn gczyt ! 
In eyme buche geschribon lyt — 
Daz ist vxias pntrum gcnaat, 
Daz vil luten iat bekant — 
Dnz m cyme mitic were 
Ein rytter erbere. 

1 »oll] MS. K>1 6 D<ul US. vaoa Mgot du. 



[fol. 322 b] 



60 



A German Version, of (Ac Thief-kgend 



Da er dnz sin hatte verdan. 

Da mllste e£ an cin rauben gun. 

Daz sprechwort una leret: 
10 Wer da« siti v«rztret 

L)hz er nunime eiilmt, 

An<lcr (hide) gat er nachgat*. 

Den sim^n ist cr unwort! 

Er iitt cin dotte der] des gert. 
16 Der ritter, ols icb lian goaago^ 

Hattu »ich Tenlobet nnd verjaget. 

Er gedochte: 'du must dich fristcn 

Diner nachgcbilri: kistcn: 

Sio Dint 90 vol von gude.' 
SO lu dctn boecn mude, 

So stal er allee daz er Gont. [32^ aj 

Da(r) bcgimdc cr alt^zU hand 

Morden undfe} raubeo, 

Doch hattc cr cristen glauben. 
35 War er quam in daz lant, 

Daz yme die glocUcn datcn bekant 

Die rechtcn sj-bon gezyde<n), 

Nit langer wolt er byd6(n), 

Wie m er were in bo«heit, 
80 Kin patcnioster waz vine bereit 

Und ein nvemaria : 

Die zwtsne fomiet er yesa 

Zu alien syben atUnden 

GoUlea h*?iligftn funff wunden, 
35 Daz er numer mUate ereterben, 

Er ensolttf da niyde herwerben 

Den lyclinm nnd daz [frone] btut 

Daz dif* ttiAki spyset \ot den dot. 

Vorblis omlet er numer giit, 
40 Abf^r rjuani in Hintm mitt, 

Er mu8lA> »u.>ln umb lybcs nar. 

Dez die lute wurden gewar. 

* After line 12 in th« MS. follow two liiiiM which Are an evident int«rpaUt)on : 

8o er d«n numc cnhat So cn1iul0ct 'Inn nit filln vvrdat. 22 t)» bcgundc etc] 

HB. Dor olmi h&nt Begundo or morden und Ta^ubeo. 32 zwcoe] MS^ zwey. 
4S dia lat« wurdeti] MS. wurden die lute. 



■ 


^^^P JG8SIB CRCt6I^ND 


61 ^H 


^^^v 


Sie begUnden io Tangeii 


^H 


^^^^f 


Untl Fin binun gulgirii hungcu. 


[S23 ^H 


^^M ^ 


Der rjrlter vor dem galgeu sprach: 
' Och, diu: cz yc gcscbach, 
Daz klagen ich got dui-^h siDen dot. 
Gedonkc min armen iiiannes n»t 
Maria, hero konigin. 


1 


^^^^ £0 


Min(e) eele dir muE^sc bvt'olhen ein.' 
Daz diag iiit lunger wort gvitpart, 
Der rytter achiere erhaoget wart. 
Alda so hing cr longe sttlnt. 
Do wart eyme andren fitter kUnd, 


1 


^^^^ 55 


Dftz er nit cnmochte vcrmydcn, 
Er ciimUst« i^'den 
Vor dem galgoD bin ein p&t. 
Syme gcscUen hnxlc cr goaat, 
Wie des lybes ein fromer man 


.J 


^^V^ «o 


Von dem Icbcn also were get»n, 

Und daz ez schftde were: 

Er were ein ryttcre. 

So sie also mytoinander ryden, 

CJioB niflfen wart da nit vermyden: 


^M 


^^^^ 65 


' Komot her, diirch d«n rtchcn got 
Zu myner bitterliclieii nut.' 


fl 


^^^^ 


Die Bwen[e] da gcwanton, 


[324 ^H 


^^^^^ft 


ZU dem galgen me ranteii. 


^^H 


^^^^v 


(Sie spmchcn:) "Biat du g(3hure das tu kiint?* 


^^H 


^^^^ 70 


Da spnwh der dyep da zti Htilnt: 
' Ich bin gehiier iind loben nooh, ^m 
Syi daz man luich an deu galgen zoch. ^M 
Min tip vreiv. zil hant vurzeit, ^^| 
Dan Maria die rcine meit, ^^^^| 


^m 


^^M 


Di« Ireyt iind[e] faeliet tnich, ^^H 
Daz sagcu ich uch sicherlici], ^^M 
Allen durch «iii clein(eii) gebet 1 
Daz ich dt>gi>lichuD dut 
7m alien syhen stUndcn. 


^m 


^^f 80 


Daz ban ich nu hefunden; 


^^^H 


■ 4Amb] 


TIA. micb. 4S here] MS. imrrt-. fiO dir mOiMo] US. iuUnw ctir. ^^^| 


■ A7 «ln1 MH 


. einou. 


■ 



^ 


A (lemuiN Fersion of the Thief-Ugend ^^^| 


^^^B 


Uiu aie mich trveuit and ir kint ^^^| 


^^^^H 


Ich wax gar an wytzen blmt. ^^^h 


^^^^H 


Iter hfiltfe itwyfelt ich an ir. ^^^B 


^^^^L 


Durch got nu g[ejleubeL luir ^| 


^^^B 


Und lesset inir nijm(c) swere, ^^^B 


^^^^v 


Bit eyme tiichberc.' ^^^H 


^^^^H 


Die zweoe ochicre qimm^n. ^^^H 


^^^^^H 


Da sie eiaen )>rystLT wnuniea, ^^^H 


^^^^H 


Dciu daticn «<; daz wiinder knntd. [324 b] ^| 


^^^H 


Der jjryatt-r zu dtrr selW'n stUnhl ^| 


^^^^^p 


Debt c^iticn npliu> liidon. ^^^| 


^ 


Uud kUutu den ludcn ^^^H 


^^^^^H 


Alien he»i)nder ^^^H 


^^^^H 


DajE bezL-ichenlichL- wiindLT. ^^^H 


^^^H 


Gotdes lycham sie natnen ^^^H 


^^^^1 


TTiid 211 dvm gnlgt^n quaini-n. ^^^H 


^^^^^L 


Der <lyeb [der] wart her abe getao, ^^^H 


^^^^^f 


Off oyncn knychen bimb cr stan, ^^^H 


^^^^^^ 


Dt^m prystCT bii;htc cr sine schUlt. ^^^| 


^H 


Der pr^-BtfT nprach : ' got ist iich holt.' ^^^H 


^^^L^ 


Der dyeb spruvh : ' herru in gotdca nunicn ^^^| 


^^^^H^ 


Gebent mir gotdes lychamen, ^^^H 


^^^^^^^H 


Daz ich dnniydc sy buwart ^^^H 


^^^^^^^p 


Vor der hellischen vurt, ^^^H 


^ 105 


D&s er mich miisse wyse(n) ^^^H 


^^^^H 


Zil dem vronen paradysefn). ^^^H 


^^^^H 


Dez hillf mir Maria kouigiu, ^^^| 


^^^^F 


Und wollest oiin golcydc sin. ^^^H 


^^^^m 


Vor der leydefn] tyndc whnm ^^^^^^| 


^^^H 110 


WoUe«t dti mich, maget, bewam.' ^^^^^H 


^^^^1 


Die lude spmchen (alle) amen. ^^^H 


^^^^H 


Den fronijn lychamtm ^^^^^| 


^^^^^L 


Iji Hine «r [>nph{ng. ^^^^^H 


^^^^^^fe 


ZU hant also da^ verging, ^^^^^^| 


^^^^F 115 


Da sack man nn der stetle lyn ^^^^H 


^^^^^^_ 


Ein cleincs osKclien lienff^lyn. ^^^H 


^^^^^^^M 


Dcs tyebes lip whk vorweson, ^^^H 


^^^^^H 


Er enborte nit me lesen. ^^^H 


^ 104 vort 


ler] HS. vo die. 11& st«ll«] MS. staid. 116 »sch«a] \iS. Beh&aen. V 


^^^H 118 leaeti] iiiR. ^enie leaen. ^M 



JESSIE OROSLAND 63 

Und sagen ich uch besOnder 
120 Daz also gro8[e] wunder, 

Wie Maria die here konigin 

Kan der siinder troster sio. 

Wer zwyfelt nu damn, 

Sit Maria yren dynatman 
125 Also wol hatte getrost 

Daz er off der hellen rost, 

Oder ye queme (dan) in daz fegefuer 

Von der reinen maget duer. 

Nu merckent alle gottes kind 
130 Wie mylt{e) got und 8in(e) mutter sind. 

Daz der dyep sie eret syben stilntd 

Tegeliches, des wart yme kQntd, 

Ane alle myssewende, 

Die hymelsche freyde an ende, 
135 Ane leit und ane not. 

Dez hylff una (auch) Crist dutch dinen dot 

Ahbn. 
132 des] MS. daz. 



REVIEWS. 



Calderon-Studien. Von U, BiiEyMANN. I Teil : DU Vaideron- 
titeraliir. Einp bitilin^r:i|)hi«ph-kritist.'he (Tbemcht. Miinchen 
un<l Berlin; K. Oldenborirg, 1905. 8vo. xii + 3l4pp. 

If the contiuuntion of this monograph fulfib the promise of the 
First Part Dr Brejiimnn will have done for students of CaHeniu what 
Professor RcnDcrt has dooc for students of Caldertin's preat predecessor 
and master. A Mble uf m&uuseripts uf dramatic [iiectiK. jKit-ms and 
prose-writings is followed by an elaborate List of printod editions, of 
reca.<it«. of intitaliutm and renderings in tiftceii languageH, und tu litis 
is added a ain^ularly tmeftil »eriea of r&feix'novs lu the many specint 
treatisen and still inori^ niiniennm arti(^lr» in which the genius of 
Cfllder<>n is psaminoH. The bihliojfmphy nf Cnldenin cnnnol compare 
with the bibliography of Lope de Vega in extent ; but it abounds with 
difficulties, nnd only an evjwrt ean fnr\n an iden of the amouot of labour 
netded to solve the problems which present themselves nb everj" atop. 
Dr Breymann's book embodies iho it-^ults of twenty yctire' work, and 
a ccuiijKLrijtoii with Barreni's Cattilugo hibliugnijicfj y Inifgrtifico del 
teatro antigim esaafiot suffices to show how many defieieuoiea have been 
nifule giMxl. Thus iin p. -^4 Barrent mentions that two ptayn by 
CnkUroti lire contained in J'arte veinte y ucJio de comedian de van'ait 
autores (Huej?c«, 1()34) ; to thts i)layH given by Barrem (Un cantigo en 
tres venf/mtsiu and La deaomhi de Ui. cruz) ahuuld l)e added Amor, 
honor y poder which, under the title of La /ndiistna contra el poder, is 
wrongly n-wribed by the publishpr to T^ope dp Vega. Thfl necessnry 
o<jrri;etiun is made by Dr Brcyniann on p. oo. Again, Barrera states 
(p, ."jO) that the Primera Parte nnd the Segunda Parte of Cnlderrfn's 
theatre were issued by his bi-other Joai Calder<in in 1640 attd 1641 
respectively. The existence in the British Museum Library of a copy 
of the Segunda Parte dated lt(37 proves that Barrera was mistak<>u, 
and the reiil facts are fully set nut by Dr Breymami in an excellent 
note (pp. 39^0). Once more Bfirrera points out (p. 54) that La Hija 
del aire is included in Parte cuarenta y dm de di/eretites uiUores, but he 
leavea it to Dr Breymann to observe (p. 57) that tho piooe is here 
ascribed to I'mrfquez G«5niez. And there are dozens of similar oorrec- 
tdoES and addenda, yach of which represeiiiB long and careful reMftrch. 




Reviews 



65 



No one can lail to be struck with the author's souimI method and 
learning, liiit uu bibtio^pnphy cim be perfect, And tin apolng^' ift noedeil 
for making a few of the suggestions which Dr BreyiuanD invibes, 
Valnable b» his bo(ik is, its ii«clidnes8 would be incrnnsed by the 
addition of an alphabcticul tabti- vt' Culdenjit'^ pbtys niodelk-d upon the 
lifit ap(»-nd(xl to rrofessor Rennorts Li/e 0/ Lupe rfe Ve(fa (pp. 490-538). 
Oil p. a ihfc QaaHit Parle uf CuHlLinin's theatre i» ua»i^ie<I con- 
jeclundly to 1G72 ou the stivngth of the fact Lhut the 'Privilugio' 
wae gmntvd on March 18 of that year: it iit bfyond doubt that 
ihe Volume was published in Ifiy2 by Jok^ Ferniindez de Buendia. 
No answer in given to Barrera'p ipiery (p. 54) as to which part of 
La Hija del aire apjjoars iti Pnrte cimrenUi 1/ df'< dn difervtiU» iiutorex : 
it ia the second part. The existence of a iieptima Pftrte of Caldenin'a 
theatre, (lated lti«2, is pprha|i.s dniibtfiil (p. 43). It woidd bo worth 
noting (p. 68) that the offidal 'Apn>buci6n' to the Primera Parle dtf 
cumeduis eaco^dtig, containing five of Calder6n'i4 plays, is ijigned by 
CaldenjQ hiutaelf. With regard to the Parte Scirta de varms coniediaa 
(p, 5ft) it h scarcely enough to nay: "Die Jahreszahl (1649) isl offeiibar 
Mtsch." It is to all appearance merely a coU^tiou of sueltat of the 
lys contained in the Parte Kexta (Zaragoza, 1649): thw circunisbiince 
ihnt the pugination is not continuous points to that conclusion. Los 
£mpeiiOii de sw horua. the soun-e of TiiKe's Adventttre^x of Jive hoitrx, is 
iWBuredly not by CjddenSn, and may possibly be by Coello ; but Coello's 
authorship should not be assumed as a matter of course (p. 112)1 
When and by whom was this ascription tirst advanced, and what 
1 the arguments in its fiivour? T!ie idt'iiilticaliuD of Erausu y 
baleta with Ignacic do Loyola OraDgtiren t» phiusiblo oiiotigh to 
Tve muutiuri on p. 2ii(i. iJr Bn-yuiann staU-M (p. 112) that he 
been unable u> liiid a copy of KitzOemld'H tniuijlation uf £1 JUdffico 
prndiffutM : Fitzdemld'H rendering of ha Vida e< sjietio has likewise 
eHCaiM.-d him. So, t(H>, he has over!ooke<l Fanry Holcroft's prose 
venuotis <jf Mejor esld one estata and I'eor eMd qim estaho published 
in ThouiaK Hulpnift.'s Tiientrical Rumidfr : nn the iilli«r hand, one 
would hnnJIy gather fitjiii him (p. Ii:j) that LortI Rnintol's versions 
of these two plays had disappeared. I may refer E>r Breyniann to 
u. 840 of my Cittirature eapaffwle fur three pbiys of Gidderou's utilisud 
by ilr Bridges in Tiie flmituttrs vf the t'uurt, The Christian Ctiptives, 
ami Achittea m Hctfrtm, antl for a jilay by Heibcrg witieh xhould bo 
included among the Diuiish adaptations on p. 78, These omissions iire 
lily remeiliis) : they do not detract fiitm thf nu:nl uf I>r Bruymann's 
>k. It will btf invaluable to every serious student uf Sjmuish litera- 
ture, 

James Fitzmaurick- Kelly. 



IL U B. 



«6 



Reviews 



Friedneh vom Hchwaben, Aus der Stuttgartep Handschrift heraua- 
ccgiTUm von M. IT, JelliNEK {Deutsche Texie dts Mitteialtera. 
hBmiiHgpgebeii vim der kflnigl. prfiiswisnhi'n Akndemi*' der Wiswen- 
Bchafter, Bd. I), Berlio : Weidinaun, 11)04. sxii.+ 127 jip. 

Kieinere mitt«Ihiichdetitscke Eradhbmgen, Fabetn und Lehrijedichte. 
I. Die Melker Handechnft. Hc-rausgeKebfu vun A- Lkitz-mann 
{Deiitfohe Texte des Mittelaltern, Bo. IV), B^rlii) : WeiditiMon, 
1004. xiv. + 55pp. 

I>t<i vorlifj^^iidcn zwei Bfliido hitittn in sorgfiiltigcm Dnick und 
giittT AiiKsUilLiiiig ilii' (.'nitcii FriiKlitL* jc-ni-s voii dt*r deulscheii Kom- 
mi^aiun (Uir i)reiiHai»cln*n Ak&dcmit; ins I^ben gonifenen, groMartigen 
JTiitt-mehmeii-i, d(><iM>ii endjjUUigas Ziel Iwissi : e'nw GcMchtchte der 
neuhochdeiitbchen Sprachc und der gros^e thesaurus linguae 
Germanicfie. AIh unertiuislirhe Vorbedingungfn bczeichnet dio 
Akadeuiiu cine uitifiis^ende MandachriRoiikuiide dc» dcutschen Mit- 
telalters und eine miSglichHt rasche Pulilikatiou bielitT ungednickter 
prosaiscbvr uud pocliacucrLilltmlurwcrktr d«a 13. bis IG. Jahrliuudtrte. 
Wfthrend m iiatuigGmass noch eine U«ihu von JuUivu daumn wird. ehe 
die Invcntarisifrung dor bandschriftlichen Schatze, geachwojgo denn 
die Sicbtuiig und intthudiaclie Ausacbrotuiig dt;r an der Centrule 
zusammeri Strom enden Beach re ibiinften zu Ende gefilhrt sein wird. kann 
jede einzelne TextpubUkation a!s ein in sich Hbgeschlassenes Oanxe 
aofort dem Kivisc der Fachgeaossen vorgclegt werdcn. Littcrar- 
hiatoriker wie Sprachforscher werdeo der Akademio hiefllr frohen 
Dank wiescn. 

Uber den Friedrkh von Scfiwahen. mil dem Jellinek die Reihe 
dicscr Tcxtc cririffDet, besitzeo wir zv&t acil 1895 eine Arbeit', die 
sicli iitit dcT tlbfrliefcning und Wrfassterscbuft dfs (Jwiichtes 
beschfiftigt, aber noch tehlte der vun Voss dort versprochene Text, 
und sninit fiir die meisten Foiwchrr die MiJgliphkeit. sich ein selb- 
stilndtges Urtetl tlber dieses Erzetignis der Epigoncnlitterntur zii 
btldcn. Diese LUcke in iitiserein Wissen miH nun Jellinek uus. nuweit 
dies dureh den sorgfaltigen Abdnick oiner Handschrift nidglich iat 
—denn kritische Ausgaben Hegen nichl iin Pluue der Akiideiuie. 
Dioso BfschriLuUimg mit'einen cnizigen Zciigon, wolehe mif den ersten 
filick die Arbeit des Heniusgebers zu vereiiifbeluTi seliuinl, birgt bei 
n&herem ZusL-li^n mancherlei iind kein<^fiwGg» u«t>rhebliche Schwierig- 
keiten, soil tuiilerH der iibgcd ruckle Text flir wiseenschaftliche ZvrecKe 
ersuriesBlich sein. Der Herausgeber inuBs sich not^cdningen in rIIc 
wichligen, dae Denkinal iind seine Uberlieferung betreffenoeu Frageu 
oinen gesunden Einbliek vnrschnffl. huben, b^i dem L*'ser nber das 
Oeftlhl ncrvorrufen. er sei llerr des titoffea, wisse uiehr duriiber, als ihm 
liicr zu sagon odor auch mir anzudeuten mSglich ist. DieM-u Eiudruck 

' L. Tom, Ubtrlieferung und VeTf<WerKha/t dtt mhd. Jli'tbTrtiMatia Friedrieh tvn 
Sehwiittn. UCLiiBt«r. 1893. 



Reimws 



67 



gowiihrt ni.E Jellincks Arbeit ; er Bcheint mir mit GlUck tlie M«thode 
bezcichnet 2U haben, der anderc Mitarbeiter an dies«r SaniTnlung in 
^hiilich tiegendeu Fftllcii zii folgen haben Didchten. 

Mit ^tcn (jrUQdcn hat JcUinck zunOchst aus dem vorbaodeneD 
haDdsf^hriftlk'hL'ii MaU*naJ die Stutlgarter Hd. (S) auagewfihit. Niir 
Uber dvn. Soit« sx, atui£^e«proch6iicn altjgcmciDcn Gcsicbtspunkt liusao 
8ich rw;Jit«n, iib bei iimtangreichereu Texleii Htat.. wt;lcfi« bloa voq 
eincin Scbreiber hergeatellt sind, den Vorzug VGrdieotcn. JelUnek 
gibt femcr (S. xviii) eine gedrangte Cbfirsioht liber das Haiidschrift- 
eaverhaltnis im Anschluss an Vois, deeeen Schenui er auf OritDd 
eigener Beschnftignng mit dem Gedicht in alien Mauptwnchtrn 
ttbeniinitnt, wahrcnd er ihn in Einzi^lheitcn berichtigt, resp. seine 
Beobachtungen weiter uui^batit und sttltzt (S. xix, Anm. 2 una S. xx). 
Ilii-MT Absonnitl sotzt una beqiiom in den Stand, bei der IjcktUre des 
Abdnifks dit SLellung vciii S iiu Schema und den kritischcn Wert der 
andercn Zi^ugcu ontnouiuit-UL'ii LosarU'u uu» stMta zu vergegcnwiLrtigen. 
fnter den Ictztcrc-n — nur fiiu; Auswahl KntHprichl; dem rnignitnru dor 
AkiuiL-inie — gywahrt er dea vun der Ha 1* (Wiener Cudes) geboluiieo 
iVuriunU-n mit lie<;ht. griisarren Spielmtim (vgl. besondefB tai V. 
i2-i)8, 4«0H^33), well die hter Uberlieferte Fassuiig dem Originale 
am nachsten kommt. tin er duneben auch angibt, welche Verse 1" 
fehlen und welche cs nllein bringt, so ist dainit der kritiachcn Befiehaft- 
igung mit dem Text eiBu guLc Haudhnbc gobuteu und das um eo 
iQvhr, als auch Variantcn der Ubrigen Hss., von X) und W abgcsehen, 
hemngezugin sind, hanptnttchlich um ' die Verbesaening cineB Fidders 
in S an die HhihI zu geben <«!er zu zeigen, dasB eine Korruptel in 
S mihnwjhcinlich Bchon der Vorkge iLngehBrt.' In dieeem leteteron 
Fall« hat Jellinek steta von einer Rmcndatinn dpR Fehlere in S 
abjjcsehen (vgl. z.B. m V. 758. 837, 1587. 1592. 4987. *tc.), gleicher- 
weime d(»rt, wo der Schreiber von S sich etwas godacht haben kann 
(vgl. x,B 3!u V. U71, oder bcHondcrs d«n ganKcn Vere 2789). Vielleicht 
1st er hier in seiner koiinei v ifreiidun Teud(»nz gelegeutlich zu weit 
gCgiUigtiQ. So nioohtc ich meinen. dujsa getix>at V. U83: ' hiwtu,' V. 
,1680; 'iich,' V. Ii05(i: "din nmnd," nacli Ausweis der beigegebenen 
Q!ic«artcn in d^n Toxt hntUi ge»trt!it wcrden ddricn. Andenn-itAachcincn 
'mir die V. fJ.'W-1-4() richlig Uberliefert, nur ist " off das h«i)t' (Ii.'i45) 
mit 'zu der selben atetf (t>344) zu verbjnden und nach 6843 ein Kumina 
Mftzon. ' lir riahm die VVurzel, die Jhm Pmgnet gegeben halte, 
IDX lui die«elbe Stolle aufeein Uaupt, wo er sie hmgclegt hiitte, als...' 
f'Ur den Ansfall zweier Wir/alo^g Veine zwischen 5804 und 5805 
dUrfte wul ener ein Schi-eibcr aiil' einer (rilhen fitMfn der tJberliefernng 
vemotwortlirh zu luacheo sein, als der Verlasser, dom sein Ged^hlnis 
oinoo Streich gcspielt hittt*. Wie ungcschcut Ubrigena die Verfaesor 
dc8 Friedrich aus der iilteren Dichtutig eiillohuteu. diis zu liburbhckeo 
mst«tt^t «r8t i]i>r Abilniek Jt-IIineks, mu^hdcui bereiU Vosa oinigcs 
Hmterial zusiimniengeslt-lk haMe. Sein Hauptaugvumerk rlchtet 
Mlinek dabi>i auf die gtot^eii dekadenweiuen KiiLlehnnngen (8. xxi), 
flcvn haudelt ea nich ihiti um den Naehwcin des OriginuJa xu kUiTuron 

B— 2 



«8 



Reviews 



Stollen. Hier Ueibt natlirlich noch lottnehos z\x tun Hbrig. So 
M^tipfiBD die Lchrcn des etcrbcntlcn Vatcni (V. S3-5S) ziim Tvil — imd 
dann meiHt wortlich— bus ds-m dmilathen Cato, wio ihn die Hss. Add. 
18581 und Add. 10010 d*^ British Miifieiim enthaltcn : 

Hab liob vor alien <linii;rii (futt 

U(i8 i»t moin Ipr viid nii^iti g«l>ott 

Dii Molt dioh erhorrnAn 

An dem gericht fiber die armen.... 

Sprich reeht \Ttail 

Ueiii Zuiig Hey dir dU fAil 

Stand vnrdchW niwiiMz hey 

Wis lioh ilir A.iift)i dnr fiv^imd sf^y 

Vol" gnt wirt ct vornohiiKit^ht 

Wtr vnpcchl zii Recht toiuiliL (35—38, 41— 4«.) 

Su aiud die V. 985-86 wOrtHch dem Btisant. 359-360 cntnommen ; uad 
in den Rcimcn der V. 71-74 klingt deiitlich dcr Par^mpier V. 4:j|-34 
wifdcr, der jii inlialllicl], wil* btikannt. fllr diescii ^iuizl-ii ALschnitt die* 
Vorlage bild^^t. 

Jtner einKt'hf-iidun Beobachtung der Arbeitsweise der Veriiuwer 
S»genitber tallt ^s auf, dans Jellinek mit kvinem Wort in seiner 
Einleitung zur VerTasserirEgp- selhst Stelliing nimmt und sich atich da 
mit Yoss Runc nuAeiiianderactKt, der diesc Fmge, vie mir RcheJitt, mit 
wenig OUlck angeschnitten hat. Eh kann ni-K. karnm uin hJSherer 
Kreis gpwesen sein, filr dwwen TJnterhnltuTiig dii^es SfimiTn?lsiiriiiTn iliia 
alttTcu Littentlm-wcrkeD bt'stinimt wur, tind iiiich diis wilt tuir nioht in 
deii Sinn, in di'in iirsjjriingbohud DitrhlLT •.■int-u hoht'tun Holboainton, 
des herzogliehtin (jisrhli-chtca von Tc-nk, in licin Intcrpitlattir t-iiieii 
GeistHch«n zn erblickeii. UewiHs hat sich Jellintk niich in dieser 
Hinsicht sein Urteil gebildet ; waniin hHlt cr ea nns vor? 

StarkeH Gewieht fitllt rW Ab«it'ht dii'ser Snninibing ents]nvch(>nd 
Buf jene Partien der Einleitung, die sich rait der Bench re i mi ng der 
aii»g(>wa.hlten Hs. nnd mit dcr Darstoihmg dor Abwoichnngim des 
AbdriickcB voni Lautbild den*L-lbt:n beachatligt-n (S. xi-xviii). Hier 
hat JGllinck es verstanden, vor dem Lescr ein lebondiees Bild der Ha., 
als dtjrcn vrBten BiaritZLT or dun mit Bnrbiira von Flfrehuim vcnnahltcn 
Philipp von Dalburg (tl492) nachweist, eretsht-'n zu lufesen, indom er in 
knappp.r, doch iihemll klarcr l'«nn <li(; Hiisarnnninticlzung dra Owdes, 
sein AusKeres, seiny Ent^lehung und AuKKL-hniiitkimg bohaiidflt. Ein 
mar Worte inehr hivtten da den Verweis anf Wiists Hi^Hchniibnng 
(S. siii), din er j.i doch im Voran ftn-'henden z.T. berinlitigt, z.T. weittr- 
nUirt. unntitig gemacht. Znr Bestnnnmng des Verhfiltnisaos der ereten 
Lugen (S. xiii. Anni. 2) hritte vielleicht die IJpnbachtnng der Wasser- 
ztuclientulge vcrtielfen kcinocn. Aue der folgcndeu Daretellung dor 
Abweichungen vom Lautbild der Fs. sei nur des interessanten und 
gemsB scltcncn (ich habe ruehrere schwabiachc Hss. daraufhin 
vergeblich durchgfsehen) Schreiberprinzijjs gedacht. daa Jellinek gnt 
herauegerdhlt und nicht minder in konaoqucnter DiirchtUhning fiir 
die leichtere Lcsbarkeit dus Abdnickea beniilxt hat, lutmlich der 
aageatrebt«n Scheidung (vgl. Fakeimilo, Z. 2 von unten 'schSwent') 



Reviews 



69 



aHiw;h.'ii d«r Bezeichnung des Unilaiits uml der schwabischen 
u-I>ii)li though. 

Eiii Naiucn- nod WortvL-rzcichnla. das neben seltenen oder iiicht 

belegicn Aiiwiriicken aiich wdche bcrUckuiohtigt, dcren Hrspriingliche 

[^Beduutnng slch bercits geaiidert hat. Mowie eine Seite dcr as. iti 

Faksiiiiile beschiieasen (Icn Band. Bci dcm cmpfindlichen Jbrngel 

Sbotograpbischt^r Na<:hbibiiing<>n dHntS[:her Has. hiis deni Zeitraum, 
en diese Texte umspannen sollen. wird der Wuoach gcrcchtfortiet 
feracherDen. die VeHagsbtichhandbing mOchtR, sobald einc gcotlgenae 
fZahl vou Publikfitioncn vorhanden ist, eine Separataiisgabc dcr 
dazugehOrigtiU Frtltsiiiiiles veranstalten. 

K\Xner darf icb mich bci der Bcspreohung der I.£iizniiiimachon 
Publikation halten. Der BBisatz ' I. Die Melker Handxhri/l ' detiteb 
jedcsfallfl dahin, dase dor Abdnick aiidorer Sammhingpti dit'Bi?B wich- 
tigt-n, Hij individiifllf-r Aiiffawmrig bo reichi-n Zweigcs der mittelalter- 
Itchen KU'inlitU'rvitur gcplanl ist. Di«? Mclkor Hs.. nach Jensens 
Urt<?il die best,e iiikI reinsfp SAmmUing Striokeracher Gediirhto. vuthiilt 
niir die oine Seite derselben, namlich Gediuhte monJiHchen InliallH — 
da.s biypel, nur ihre beiden letaten StUeke. ein dmilacher Cata uiid ein 
Jdarien^rtus, treteii aus dieseni Rabmen. Aus dieuer schon bftora 
benulzt«D uod beschriebenen Hs. teilt LeitKinann iintcr Horbuiziijhimg 
von Lfsarleii dor Heidelberger Hs. M\ achliindznaiizig nuch uugt- 
dnickte StUcke uiil, wtUireud cr v»n acht anderen, die bereitK aua 
andert'n CodiceB veroflentlJcht vorliogun, di<i Abweichungen des Melker 
TexteH in der Einleitjing vorzcichnct. Auf uiiiu ZuBamiueustttllung der 
Quellen tUr die etnzelnen StUcke vemchteG er mit Ilucbt, da ja erst 
aus tier Inventarisieningderdeutachen Hwi. cine vi>IIat(iud!g« tTberaicht 
za erwarten stcht. Dngegen ware eine wonn auch uuch so knappe 
OrifUtiiTiirig libt-r den Stand der Verfaaeerlrage am I'latzo giiwcsou. 
In der BtiJiihrfibiing der Hs. komnit Leitzmunn iiieht Hicmderbch libur 
mine Vorgtiiiger hinaua. Uic Datst&llung d«8 Linienschomas iet nacb 
doni beigegobenon Fakxiniilo zu urteilen, nicht erechttpfend, imd auch 
die BifDn-Tkiing (S. vi) iibcr dirr Mitte judcr Seite stehe bis S, 159 die 
No. des Ot>Ui(.'htes mil ruler Farbe. wird diulurcb nicht bestatigt, denn 
XV tllli ateht bier am atusHcrcn Kaiide. lu dein Wortverzeichnia war 
rdwi w»t erKchlowene ' Kint Meereaflut '. ' kauiii luifzunehnien ; man wird 
'Ittit dem handHchriftUchcn ' siuno ' (vgl. das cnlsprochende ' dor vertte,' 
V. 80) nnsziikommen habt-n. 

R. I'KIEUSCH. 



The Stort/ It/ Kiny Lear from (Jmffreif of MonmoiLth to Slntkespeui-e. 
By WiLi-KiiJ Feurett. {Palaestra, Vol XXXV.) Berlin: Mayor 
iin<l Mtlllcr. lyiH. 8vo. x + 308 pp. 

The hiBtorical inveatigation of the stories which medieval chroniclers 

end Elizabethan jweta and plaj-wrights have handled and beqneathed 

tu ihow who have come after them, until at last the plastic material 

Ifaiis taken it« final and imperishable shape in the dramas of Shake-spcnro, 



70 



Reviews 



\m a fonu of study which has been pursued with conspicuous succeai 
under the guidnnw of Profesaor Bmndl at Berlin. Prof. Churehilla 
Hxchard III. up to Skakeeptare. nnd Dr Kroger's tHe Hage van Macbeth 
bis tu Shakespeare, hiivtt now b«>en followed by Dr Perrett'e study of 
King Imit, a picct: of reworch whirh maintains throughout the high 
DUindAfd of excellence reuvhed by Dr Ferrett's predecessors, ft is, 
indt'od. only just to say that The Story of King Leur is one of the most 
Vftliiiible studios of ShakeH|)earean sources which have as yet been 
jimilucwl. and that its value in the greater bocnusL- of its frL-eaom from 
the pedantry which the study of soiirces often oncenders. No sub- 
wMjiirnl editor of Kinff Lear can afford to ignore eitn«r tho ct>nclu»ioiut 
which I>r Porrctt has arrivod at, or the textiml critieisiii which he 
fnminheii in rhicidiiting huiuc of the obacun.-r pa.'^nogeji of the play. 

Thi^ work falls naturally into two parts: the Kinif Lear story before 
Shiikiripearo, and KhakefijMmre'ji use of, and divergence from, earlier 
vorainiiH of it. The starting-poiut of the story is, of ennrs<?, Geoffrnv of 
Monmouth, hiit Dr Perrett endejivours tn go behind Geoffrey lina to 
Mhow thai the Mlory of Lear and his daiight^'rs, with the love-test ns 
pivot, mtiM iifHin a widely dieseminatet] 'luArcheu'uf [lopiijar folklore 
of which the outline is as follon-s: 'A kinjjr asks his ihi-ee daughters 
how iiiiich they love him. The first two give plwwiiig unswon*. the 
Uiiid fliH|ileiui4<H him by saving she loves hiui like Kult. She is driven 
f<'rrh, but obtains aid. a diKguisu and menial employment. A prince 
riiiln in lov« with hor and marries her. The father Iraims the value of 
Midt by huviug tuUtless food set before him. and in reconciled.' This 
'loving likw sSt* story, Perrett argues, is by Goolfrey gathered round 
thi) pem>n of L(>ar, 'a shadowy figure of Celtic mythology.' But while 
thi« fiilkiale ends happily, Geoffrey adds a tragic seijuel, and narrates 
the ft' ■ ' ' "rdolia's auWquent uiiaforluneH and her death by suicide. 
Such 1 II (old, is the genesis of the alory. and it is mi uneonsciuus 
Iribut* to the plnusibilitv of Penvtt's contention for a folklore origin 
Unit many critics of Mhakesfieare's play tuive foun<i fault with its plot, 
Uid above all, with its opening scene, on the score that it savours rather 
of a fairy-tale than of historic probability. 

Perrett next prcvceeds to deal with the many versions of the storj- 
which lie between Geoffrey and Shakespeare, and of which he has. with 
pwiwtaking industry, collected over tifty. A 'pedigree of the stor^- ' 
which is prefixed to the htxik, cle«rly shows the relation which all 
ih('«e bear to their prototy|je, Geoffrey of Monmouth, and to each other. 
MoNt of the versions are naturally treated in a summoiy manner, but u 
ftlller analysis is meted out to ijiyamon, upon whose treatment of the 
Lear Btory Perrett rightly best^sws high praise, to Higgins's n^ndering 
in the Mirror for MaffiaUtdes and to ilio old play. Perrett wisely 
abstAina from attributing the laal-iucutiuiied either to Kyd or Lodge, 
■nd contents himself with making a careful study of \i» chief sonrceo, 
Warner's AUnon, The Mirror /or Magi^raten, and the Faerie Queene. 
T)w fimt part of the work concluded with a careful examination of tho 
Ballad of King Lear, of which a reprint is given. Perrett is io agree- 



Jievieua 



71 



iment with most criticH that the hallad is post-Shakespearean, and, with 
[a refineraent of criticiem that the flubject ficftrcely warrants, ondoavoure 
to provp that the hallad-nmkcr had seen the pliiv ImiI not read it, aud 
that he had recourse io Hulinshc-d for «>.'rtoin details of the storv. 

It is no easy task to follow Perrett in his exnmitiation of Shake- 
BpcAre's Kitu) £ear, and we could wish thnt in his endeavour to show 
Shakespeare's dependence upon his sources he harl followed a clearer 
and more orderly method. But if the task is difficult, it in one which 
brin^ with it itH reward. Pi-TrL'tt tli-votus conaideraUtr space to the 
interpretation of the first scene of the play, and, thnnks to a masterly 
expa-titiou of it in the light of the snurrt's, has done more than uiiy one 
to dear up the difficulties which this aoetie preneots. Put very baldly, 
his conclasions as to the meaning of the scene are as follows. The 
whole of the trial scene is a trick contriveil by Lwar after he has made 
up hi» mind as to the division of the kingdom, in order to afford 
Cordelia an opportunity of showing herself more worthy than her sistera 
of that more opulent third which Lear has detennined to best<:iw upon 
her. It will be seen that Perrett Is heru, up to a certtiin point, following 
the lead of Coleridge; bnt in his conti^nbioii that the coronet whicD 
Lcor gives to Albany and Cornwall (I. i. 140) waa uol his own crown, 
but « coronet intended for CoHclia, he is breaking entirely new ground. 
The bestowal of the coronet upon Conlwlia in the ' darker purpose ' of 
I. i. 34, which has proved a stunibling-bNick for so many editors of the 
play, and its actual bestowal upon Albany and Cornwall i« meant to 
symbolise Curdciia's complete diBtnheritHiice. 

In his examination of the play in the light of Shakespeare's sources. 

Perrett brings a gooil dejil of valuable rnatcirial to light, lie is of the 

opiiiiou that .SliakesfieJUT; had access to no less thaii six earlier versions 

of the King Lear stoiT, ijuite apart, of course, from the Oloncoiitcr plot, 

with wiiicn he is not conm-med. Ho ditFwrs from must critics in 

considering Shakespeare's debt to Holinshed verj' siuall, agrees with 

Anders and others as to the borrowings from the Faery Queene. and 

devotea a very careful study to thf relations of King Lear to the old 

Cplaj-. He allows that • wherever the old play offered a hint for effective 

Action, Shak<ap<-are did nut disdain to ucocpt it.' and that the character 

of Kent is based on Perillus. But Perrett s chief interest in his .study 

of the 9onrcc0 of King Laa*' is to prove that Shakespeare had gone 

[diroct to the Ibuntain-head of the stoiy and had not only read, but had 

^mnde considerable use of, Geofirey of Monmouth. The old pUy, with 

iti bourgeoi;! king and its happy ending, could not. he ooatend^, have 

iggettted Shakespeare's tragic setting or have funiishcd any idoa of a 

urch (to majestic as his Ijear, Nor could such eurliL-r renderings of 

story aa that of thn Faerie Quegiie, Holinfihed, or the Mirror for 

fagifirates, have contributed .inything of value. Guided then by the 

[inal reference to 'CJnI. Mon.' in Holinshod'a venuon, he went to 

'Oeofrrej' of Monmouth, and found there not only the tfagic suijuel to 

Uie story, hut also a Lear who was 'everj' inch a king.' To inauy the 

isformatioQ of the bourgeois Lear of the old play into the heroic 



72 



Smews 



figure of .ShAkcBpeairo'a tragedy will seem but one of many iiwtancea of 
that alchemjr by the possession of which Sh&kei«))L-Are is ShakvMp«arB; 
the difference between his Lear and the Lvir of the old play ib not 
grpRter than that between liis Henry V. and the H«?nry V. of the 
Fiimnm Vwtonea, or that between his Macbeth and Holinahed'a. 

But while IVrrott's main themH fiiiU to cam- with it t'ldl conviction, 
he brings forward collateral evidence which pojnta very directly to the 
fact that ShftLespeare, for all his ' small Liatin.' was well acquainted with 
Geoffrey's atoiy. Put briefly, thus e\'i(lpnce is as follows : (1 ) Shakespe-oro 
MieOEi with Geoffrey in making the Duke of Albany the husband of 
Goneril, and Cornwall the husnnnd of Regan; (.2) the distribution of 
two-thirds of Lears kingdoiu between Ooneril and Begun is found in 
Geoffrey and in only one other version of the story — the French 
Pgrce/orest of 1528 — which could have been ac(M«sih]e to Shokesiware; 
(8) the pretexti; mentioned by Shakespeare's Goneril and Regan for 
reducing Lt^ar'a train are found only in (Jeoffn^y; (4) the Gentleman, 
who in the Finst Folin iK the confidant of Lear and Coriielia (iv, iv. and 
IV. vii.), and who in the First Quarto is replaced by the Doctor, 
corresponiiB so closely t^i Geoffrey's ' niincinii' that it is only by help of 
the ongtnal story that we can understand his share in the tiction ; {5) the 
difference between the two dukes of Albany and Cornwall is the direct 
outcome of the parte they ]>lay in Geoffrey. It would be easy to belittle 
the value of any one of thette points of eorrcspondeuee, if taken sepa- 
rately, but it muat be coiifesswl that their cumulative effect is very 
g««»t. 

Jl IB scarcely necessary to bear further witness to the painstaking 
research and judicious temper which Dr Perrett displays throughout 
his work. He sliows at times the impatience of the specialist for titotto 
who, working on a larger field, havo fallen into errors from which he 
has escaped, but in clearing away numcrou.-* pitfalls he has earned the 
gratitude of every right-minded Shakespearean scholar. 

F. W. Moorman. 



The ii(/ityr of Lowe Dtgre. A Middle English Metrical Romance. 
Edited by W. E. Meah (The Albion Series of Anglo-Saxon and 
Midcile ftnglish Poetry; J. W. Brioht and G. L. KlTTREIMiE, 
Genenil Editura). Boston : Oinn and Co., 1 904. Svo. Ixxxv 
-1-111 pp. 

Wg offer a hearty welcome to this volume— the first, as far as we 
know — of the ' Albion Series.' which, if the present high stiindiird be 
maintwned, will bid fair to rival the * Athenaeum Series' issned by the 
same publishers. It is pleasant to regard the projection of these acrica 
as an inilicntion that, in America, Mesar* Giun and Co. can venture to 
put forth publicly the same kind of scholarly editions which, in England, 
require the supijort of suL-h admirable but collahorative bodies as the 
Early EnirUah Teit Society. And the names of Professors Bright and 



Revieirs 



73 



Xitln^gr, an gcnt^csl editors of the aeries, guarantee (Xrefiii nnd trust- 
wortliv work. 

Side by side with similar worktnanhke c-ditioDs, we ^houlil like to 
see lh« text pure nnd inimpte of the^e Kiiinanceii |inntcd rhenplv in an 
easily intelligible fonn for the genera! reader. So far from nullifying 
the ciiTiilatioa of the more learned edition, such reprints would whet 
the appetite of the reader to proceed to a cloHcr study of the uriginal 
poeuL For. if we disagrea with. Professor Muad in any point, it is with 
nia «oaaewhat dtrogfttory dismisaal of the t^guy-r of Xowe Uegrc &b of 
finuill literary raliie. Naturally une dues not turn to the old RomanceK 
for 'high seriousness*; but thej' are life, sometimes crude, sometimes 
surprisingly mtxlfirn, always natvely tnit- and real. 

The St/Hifr of Lave Degre is pro9er\'ed in two forms; the first 
cnruistM of two fragments nltribnted tn WjTikyn de Woi-de (Britwell 
Libmiy), conipri.sing only ISO linc-jt ; thi? second is a singlt copy, iu the 
Brttisli Mu8euici. of an edition by William Cuplaiid. Then- is a!au, it is 
truo, a short version in thu Percy Folio; but this is n hundred ye*rs 
Inter than Copland's. The first uf thtwe wt^ have bfen unable to collate; 
but a comparison of the Copland text with [Vofessor Mead's gives us 
•pvcry reason to I'-ttimatc the acnimcy nf his wnrk very highlv- We 
note u slight oirt^lessncRs in nnroc-nnled variations K^tween capital and 
lowor-ciwe letters ; ' v ' for ' u ' thmnghoiit ; and a ven- few minor errors. 
In line 78, n close irwpection Hiiggests thnt the second ' 1 ' of ' gentell ' — 
very much blurred as Prufirasor Mead remarks — ia not a letu-r at all. 
but a ' apace-up.' In thy colophon, the last letter of " degree] ' is broken 
right out. 

These, howpver, an? detJiils, and do not in \.\w least detract from tho 
ineritH of the careful work lavi-shed on the edition. The Notes and the 
Introduction err, if at all, in the tlirection of rwliindance of illuatmtion, 
but are aniaisingly full of inlbmiation. We wish some one would 
identify, onee for all, the trees and bird.'* thn,t occur in tbe Romances, 
ospcciidly the bin! that is spelled ' wnde-wale " or ' wit-wull ' ur anything 
lietweou the two. Perey, rhillips, RitNon, Hazlilt, Miihtiv. Child, Hales 
and Fumivall have Imtween them cullected inferTiintion U' indieitUr that. 
the bini ia {i) a wuod|H-'eker, (^ii) a ■ kind (if thrush,' (iii) a woudlark, 
(iv) n mlbreoat, (v) a golden (iuElu(0,(vi) a gn^n finch, (vii) a nuthatch. 

F. SlDOWICK. 



TuUe to (Jpere di Dante Alighieri. Niiovaniente rivcdnte nel te«to dal 
Dr E. ModBE, con indice del iioini propri e delle cose notablle 
compilato dal Dr PaokiToyniiek. TeivA edizione piii estesaiueutc 
rivediila. Oxford : Clarendon Press. iy04- 8va xii + 41*0 pp. 

The Becontl edition of the Oxford Dante, which appeared 1897. wna 
cofn[jnp.*tively unim}iortiint. being marked by no new features, and 
ditfi-nrig fmrn the first merely in tne correction of cerUin misprints and 
vrnirs of punctuation. Of tjie third edition the same cannot be said. 

5—5 



74 



Remews 



^_ hilTU 

■ bofu 



Tlwp diligont Ubouni of Dr Woore and Dr Toynboc witli the hi-lp, for the 
Qwugtio, i»r Or tshiMiwcll, have brought the text mwl thv imipx in alinoet 
t'vi-ry ri-»]n-v% ahrvMl of modem rwearch. There are ptrhajis only two 
(MiinU in which m fourth edition may be vxpt:ct«d to i^hcw material 
Jiiipntvtiiiioiit, ftii J both are ooniie<;f«Kl with the Canzoniere. The reviewer 
in the* ItulletifiQ of the ItaUaa Dante Society poiiits out, and do doubt 
with nnmon. th«t this »w!tion of th« Oxford book, even with the addition 
of tho h'onntL-DAntc Temone, remains incomplete — 'nnuQgou fuort 
faintu nitro riittti di iiicuni upiiivrti-iiL-tiza al pcieta, spusameoite edite* 
(Unit. xii. 4A), The second point is the text itself; we aro still waiting 
for n critiail mlition from Italy. 

The addition to the Canioniere of the three pnire of eonncts which 
form Lhu H(i-iuUltMi Ttnione between Dante and Fonuie Donjiti haa boen 
Very elevurly managed, »o that the paging remains the same aa that of 
Ihfi two CTtrlitT editions. The Tenzutte (if we except certain xniall but 
ntit uninipiirtant aijditionti in Dr Tuynbee's index) is the only really 
nuw vleinotit in the book ; lint it r(:prc5<'nta the ven* least jwit of the 
Uboiir that hna btsen exijcndcd u]»on this edition. For the Wxt of the 
He Vulgari Eloipietttia \)r ^loorr (nr rather Dr Toynbee) hiis now Hvailttd 
himself of thf nwnlts of Prof. RijnaB UWiirB, published ali-eady it year 
befure the Mt-ciind t'ditiuii of the Oxford Diuite waa issuud. Rajim'» tfxt 

M, however, been modified here and there in litvonr of the best MS. 

ibhoriby; and the Oxibnf editor hzw nut iidupt^^^d Hiijnn'n iirehaic orlho> 
graphy." 

j'ht.' text of the ('unoivlo, though lees radically reformed, has bwm 
considerably amcliorat^Ml by the indefntigablc editor, who has consulted 
nil known iiss, of any value on points wTiere the reeeivt-d text seerai'd 
most dubioUH or eornipt. Dr Moore has thus accomplished fur the 
Cunrnviu what hi- did ten years earlier for the IHvina Cummedia. The 
Ecloone have had thu bonetiL of the eritieul editiumt of Wick)iit4M_-d and 
Onrciner in lilnglnnd and Albini in Itah'. Finally, the text of the 
Quaestio ha» lieen revised throughout by Dr Sliadwell, the vin<lientAr of 
the authenticity of that treatine. The index aUo has been revised and 
improved by its origimd compiler, Dr Toynbee, who besidoN his spoeial 
work upon the Eluquenim. has collaborated with Dr Moore in the 
revision of the entire work. It is noticeable thnt here in the index, as 
Lhv cose of the Camoniere, lulditions have been mudu without 



in 



disturbutg the original paging. Thus, utider Mum on p. iHQ an addi- 
tional rek-rencc to EcL ii. S5 — G has been inserted ; and lower down 
the double reftfrencv lo'Muso Phr^'gius' and ' Musato, AJberiino': and 
again on p. 4711 ihoro are additional references under Polenbt to ' Quido 
Novello' and ' Giiido Vecchio': but in spite of such additions the total 
number of pages remains the same. Ihe case here is obviously on a 
different footing from that of the text itjielf, where for purposes of 
relerenoe uniformity between the successive editioos is desirable, espe- 
cially when the text has become a Ktandiird one abmjul as well as in 
EttgUnd. And wc are inclined tu think thnt the indcx-mnttcr would 
be more convenient for use if it were more generously spaced and spread 



» 



Reviews 



75 



over ft \ugBt number of [jugvs. Somt- of Ifac minor ultemtions in the 
index ue referable lo Alt.(<mt>iuD» in tlic U>\l -. tlms ' Rox Xavarrao ' is 
now roftd in the &ijquentia in place of ' NavarriaL- ' : and the result is. 
n»tumlly. not iii«rely ihn omission f)f a single let1.Br iii the ijid«x, but 
the tntnepositioa of two items. In &mall things, &s in great, no labour 
has l>uL'n s[ian;il. The l*"arn(*(i scholars, with l>r Moore at tki-ir hwid, 
■who have accomplished this revision are to be conftratulated on their 
nuoOBM, onJ m\\\ more m the generation of English Dantists to be 
oongntiilated who will ent*r int^o their Iftboura, Tho' Oxford Dante' 
provides at onoe an inspiring moniiiucint of IciirDing and critical ncumen, 
', a sound basis for future work. 

LOKSDALE KA<iC. 



MINOR NOTICES. 

La Crilica Lelteruria net Rinascimeiiiv. Da J. E. Spingarx. Traduzione 
it€Llijkna del I)r AjrroJ-'lo Fusco. con correaoni o aggiuntA; dell' 
autore e prefazione di B. Crocr. Ban: Laterxa, 1005. &vo. 
xti -I- 368 Y\K 

We oongmtttiatf' Mr Sjiingam on the n]>p(*amncff of this Jta.lian 
edition of his History yf Litettiry Criticism in tlic JietMi«saiic« (New 
York, 18WI) from th*- j>eii of Dr AJiitomo Fuaco. The author has availed 
bimeelf »f the opportunity to un^kit t^ome valiiabk additions, DOtably 
in the reien?ac«tt t« the works i»n criticiKin which have appeared 

inace the publication of the Hnt^dish text, and in the extcutiire biblio- 

< graphy at tht- i-nd. The nirwt imjtortant altf^ration in tlio text is the 
e^xpAnsion of the last pamjp-aph i.p. :J10) into a ' Conclusion ' of eighteen 
pag»!». I»aswl on the author's article on the Oriyinx of Modem (7rifi'ci«wt. 
which appeared in Modem Philoto^y (Chicago), in April, 11104. ll is 
dt-nr that Mr Spingarn's study of the subject is deepening, with great 
|>n>fit to his ri^ack-rs and crcait to himseif ; nnd we may i-xpect, from 

['Certain hints in lii^ new ' AvvLTt^nza,' some fui-th<.T iidditions when hia 

'American and Englimh public call for a r*.-print. 

Signur Crooe \aa written a Preface which would have beeu more 
■ceeptablo had it been !<»» ifolemic^il and pi>rHonal. It is httle more 
than a counter reply to BIr SaintshuryV retort, in the third voltinie of 
hilt Hietorif »/ Criiv:i*m (pji. 141 — 145) on the philoBO])ht;r's part iu 
critical dL!u:tuwiun. There is perhaps some Hnmanistie appropriatenetw 
in ilii«i give and take by two t-minfinf, critics, who are after all not in 
Bitch (lenous opprjHition as would appear ; but the more personal elementa 
in the ywere/ii might ha%-e Ixien n'SArved for the Reviews. What wait 
wnnt<><) from Siguor Croce's most competent pen was not a lighting 
tnict mjppDrting .Mr Spiogam's atUieks on the fitstori/ of Criticistn, but 
un intnrductK^Q to tliu Ibttmii reader, jioiijtin^ irul the i;xcL*IIencc uf thi.*) 

1iii>n>-er aitempt to InUTprx-t and place the half- forgotten theories of ihe 
.laliaa critica of the mxUtenth ueiitury. 



76 



lievieufg 



David Oarrick ula Shaken jteare-Dar^tteUer unii seine Bedetttutiff fiir die 
htutige Schauepielkumt (Schrtjien der deutsclieu t^ifml-esjteare-QestU- 
schaft, n). Von Chkistian Oaehhe. Berlin: Reinier, 1&04. 
8vo. Kii + 198 pp. 

This palnntalcing piece of work — tht* rt-sult of a prize competidon 
institulc-a by thu Gcniian Slmki-Hpeiiru Society — iUla » gap in our 
liteniturt- on Oarrick. It ia vhIumWi'. Iiowt'vtr, ratht'r hm a t-olWdou of 
Diatoriab ond data than an u contribution to crilicieta. As a rule, 
Dr Gachde u* content to take has materials aa he (iiidfi them : ht; does 
not nilow BuflJciently for the haphazard and unreliable character of 
English writings t)n the-atrinal alTairs, and has tmnsrerri?<! xx* hU pages 
opinions expresaed about Garrick, either iu the actor's own day or at 
subsequent periods, as if these vit-ws had nil equal weight as scientific 
evidence. Tno fiiPts of Oarrick '9 life are presented lucidly and accurately 
to a public assumed to be wholly iguuraiit uf iheui, but we are doubtful 
if tho author has congidered it necessary to penetrate very far on his 
own account into Eiij^lintb Garrick litiTmturc. He haif, ut least, little 
or nothing to say that is new. The second, and what might have boon 
thi- moKt valuable [uirt of the e.sNaj. that on (Jarrick's iniportiincti for 
modi^m hiHtriimic art, is, notuMthstaiiding the assuranci' of the title- 
rnge, touched upon almast n» perfmictijrily as by mir own Knglish 
oingranhers of Oarrick; there is harilly evou a word on an asTH-'ct of 
the su^ijeet which might have fcwn expected to interest a German 
investigator, the aetor'« von' eonsiderable influence on tho development 
of the German theatre from Lcsaiug and Bkhof to Schrcwler ihuI Iffliind. 
In spito of th<^fte defocta, howevtr, I)r Giiehdu'n book is a valuable 
Vofiir()eit which students of thi; l-luglish th*«ihn: in the eighti:cnth 
century cannot afford to ignore. 



Baltac, fhomtne et Icenvre. Par Andb^ Le Bretos. Paris: A. Colin, 
1905. Svo. 20* jip. 

Among the multitude of books which have appeared in n-eent years 
on Balitac. the present vulnme takes a high place. Professor Le Breton's 
previous studies in the history of the Frem-h novel have given him 
a stronger right than most bahacienii: to speak with authority on what 
might be csllcd the genetic and cumpamtive o^cts of Balawe's work. 
The peculiar strength of this volume seeiits to us to lie in Chapters ir, 
and III., which tit-at respectively ' Los originos du roman balmcien ' and 
' Oenfwc ^•t plan de la Com^die ItKnuiiiie.' We have here, iji fact, one of 
the fi-'w atu-mpts which have yet been made to trace in a methodical 
and scholarly way the origins of a distinct typi; of niuctuentli century 
fiction. And, in doing so. Professor Le Breton is able to thmw fresh 
tight on the whole literary movemunt of the period, and on i1« rt^lstiontt 
toother manifestations of mnianticisin in Europe. He begins by singling' 
out and weighing the Ibax^ejs which moulded IJalzac'a youth. We are 
glad to see that he dismis-ses (p. 90) M. Louis Maigron's attempt {Le 



Jieviews 



77 



Rovtan higtoriqtie i VSpoqne. Tomnntxque) U* find in Spott the chifif 
inspirer of Baiznc's ficnoii. iind he discriminates with fine judgment 
between what in t,he CcmUtiie humnine is nf rnmantic origin nnd what is 
modem und rottliatic. BhIzuc'b immediate predet'essLirs are, lie ahowa, 
to bo sought uinonf^t the minor scribblers of the Firet Empire, men 
like PipiuTt-Ltibnin and PixiWcourb, who to tho proaenl gcnuration of 
FrL'Dchmen are hardly known by anine. Yet, humblo ns this origin is, 
these cphemrral writrn* fiirm tho link which amnecte Balzac with the 
nuuit^n of the romttn bnurffHins of the eigbtoenth centurj'. Proft'ssor 
Le Breton might perhaps have laid even more emphasis on the direct 
descent of the Comcdie fiumaine from the many-volumed chronicles of 
lUtif de la Bretonne. 

The Inter, purely critical chapters of the book, dealing with several 
of Balsiic's typicnl romaucos, ure written no luss attmctivoly than the 
first piirt, but thy author's porsonat predilections for what he considers 
the hcrdthier outlook of Comoillo and Hugo, lend him to eive a eoiuc- 
irfaat diAt«rt««i view of Balzac's significanct! for the uamndiatic move- 
ntcnt. The chapter on the aovelist's intluence — in which the name of 
Zola in not evi^n mentinned — is a meagre anil diuappointing dose to an 
admirable book. 



La Liti4rnture compart. K^sai hihliographiffue. Par Loiria P. Betz. 
Introdtiction jiar Jusei'H Tkxte. Deuxi^me t^dition augment^, 
pubhi^e avec im index iiii^thudique, par Feknand Ba uiENsi'EROEH. 
Std-ajwbourg : IVilhncr, 1904. 8vo. xxviii + 410 pp. 

This volume comes as a reminder nf the ravages death ha.s already 
miide in the little bund of pioneers uf Com punitive Literature; the 
introduction to it was th& last thing Texte wrote, and Betz himself died 
before ho could see tho second eilition through the unsw, Both were 
men who TOuld ill be spared. Teste's acute and inci«ive judgment was 
pi;-culiarly ndaptctl to deal with comparative problems; indeed, his 
criticisra suffered almost fn>m an exueuR of compamtive zeal. Beta, 
on the other hand, was an iodefetigable worker, and one of those vigorous 
champions that a new mnvcment needs; he lackeil, ]}erha]iK, the touch 
of imaginative genius obaervable in the French critics who have nelded 
to the &scinatioD8 of the comparative method, and he ha«l taken up the 
academic career too late to be effectively grounded in the Akrifne of 
le Uennan school. His own work came to grief to some extent an 
lentitre which has tilted many of us with an instinctive distrust of 
la littdnUttre coinparle, the lemplaLioii to diiwimte interests and energies 
over t<«' wide a field. Bctz's courses as Professor of Compamtive 
Lit4rnitun; at Zmich were astounding in the extent of literary kuow- 
ledc« they encom^iaBeed. At the same time, it was just this faculty 
of being able In make himself at home in ttiich widtdy sepiiruled BelcGi 
that made Betz so well suited to plan and carry out a bibtiographical 
work like the present. 

It is obvious, however, that a bonk of this kind muRt go on improving 



78 



Reviews 



from i>ne edition to anotfacr; and the oUvance of this edition over ita 
predecessor is seen in the fact thai whereas the Utter had onl^' 133 pages, 
the second edition extend* to 410 pages of double eolumns. The work 
is divided into a m?ries of chapttrB, wich of which pilhers together all 
the books ami articks doAling with the relations of two or more litem- 
turfs — ■ La Fnuicv t?t TAlk'niagnc,' ' Iji Francx.- et I'AngleU'mi.' &a — 
and this method of classification is verj' serviceable in practice. On the 
whole, excellent judgment has been shown in the selection of the 
materials. There is, here and there, room for weetlin^ out; for the 
compiler has ttccasionally been misled by titles to assume that a certain 
ewuy '>!■ book is comtiarative, when, as a matter of fiict, there ia no 
justification for its inclusion in his list. On the other hund. the viata of 
possible additions and extensions which a survey of the entire field 
opens up, is endlcsa If. for iusUuicc, every judgment which » critic 

fnxmms on a literal.upc not his own falls within the scope of 'comparative 
itemture,' the intirc bmly of writing on clasHical antiquity suioe the 
KeamHuanee tihoiild Imve a place here. Again, a plea might reasonably 
be mailn for the- ineliision of tniu.s]n,tioi]fi, while a chapU;r such lut that 
on ' I'histoire dans la littf^rature' which Betz has tentatively insmrted 
at the end, suggests still more possibilities of regarding literature 
comparatively. Clearly, the ciring need of 'Comparative Litcmture' is 
definition. 

An 'index m^-thodique' takes the place of the index of authors in the 
first edition; but it would hiivi! enhaticid the pnicLicai value of the 
handbook had the original index been retained in aflditiou to the new 
one. A work of this Kind cjuinot be too well supplied with indices. 



I 

I 



A 'Sooi4ti des Textes franfais modemcs ' has been formed under tha 
preodency ofSiI. Oastarc lAnson.with a view to publishing more orlesa 
tnaccesKiblc texts at a modemte price. Amongst the works promised 
are editions ol' Heroilt (hy K. Clohin). Huiism-d (by p. Laumonier), 
Joachim Du Bellay (by H. Chnmnrd). Agrippa d'Aubign^ (by A. Gamier); 
also of D'Url'^8 LAstr^ and Ch. Soal'a h^andre (both by E. Rov). 
while M. Lanson himself promise* Voltaire's Lettr^ anglaises. TIio 
Secretary of the Society is ProfesBor Huguet of the University of Caen, 
and the annual .subscription 10 Crauctt. 



Under the title Baunteine, a new German organ for the tstudy of 
modern English philology and etymologj- has just been foiindcd. The 
editore are Profeaaor Leon Kellner of Czemowitz and DrGustav Eriiger 
of B«rlin. Six nombera ai\> to appear in the year, the annual subsenp- 
tion being IS mark-s; it is published bv the firm of Langensi^heidt 
in Berlin. Tlie o«mtentB of the first numlier, which was issued in July, 
give promise of useful activity in a field which in recent years has been 
aagiduouHly cultivated in Germany. 



I 




NEW PUBLICATIONS. 



GENERAL. 

BiBBK, A., Tb40llffM&paifiDt of tba Keotitig for Niituro in the Mi<i(ll« Ago» aikI 

Modem Tl'nn. Tnui^ftted ftom tl]« Oertn;iti. Liindon, Ituulleilgi!. 6«. 
Ckiois, E., Beitril«o yii o&tt AMrHit^ dor L^rik. HaUo, Nioraeyvr. 3 31. 

HtRTX, W11.11KLM, GeBammelu! Alihundltingnn. Heraiiag. <rou F, roo der 
L«7«ii. .Stut^a-rt. Cotta. 10 M. 

Novate, F., Attravenio il uiudiu ovo. Stiidl n ribvrchfi. H<tri. Ijutcrita. 4 1. 

OtM UeneUna: tbm PuliIiiiiiLioti tif tho Facullv of Artu of t)i« UiiitcRut^ of 
UverfnoL Vol. rv. (C'tniUmts : A. C. Briidlfv, Phutitstio 'Iiifeotion io 
ShalMMpenre. Ch. Itoniiior, Du Contact en Litlt^-rnture. (). Elton, Literenr 
Fmuey a KctiAisaanco Stndj'. R. H. C'sio, Tlic Auttil-iogi-yiitiy oT Sir 
SjnooiidK d'Kwofl^ M. Jlk-kin, C(Hit*ni[>or(ipy Criiicwm ul l-rtrnli" DnuuittJQ 
Spncimenii. J. 8c>phton, NotM on ihs South L&iicashira PIucu-Nutucm 
in Domotda; Book. H. C Wyld, Wmt Utnmmnic a in Old English. 
I. F. WillUmN, Siffnificiiioo of tho Mrmbol « in tho Kontiiih liloaMa. 
P. O. Tfaonma nnd H. O. WtW, A GloMwry of the Mercian Hymna, 
T. O. llimt, SoTn« FcAtiirM of Interest in the Phonoldjur of the ^Iodam 
Dialect of Kendal) London, Willinnis nod NorgiLt«. lOa. Sd, nut. 

SpiHCiAnv, J. E., Lii Critii-A lyittcmrii t)«1 RiriiUKJciiciito. TrMliutione itoliaiA 
del Dr. A. Fumc-u. Bnri, Ijftt«rx«. 4 1. 

ROMANCE LANG U AGES. 

General 

EnKutso, ()., Prcblemo der romanischwi Syntax. I. T«il. Halle., Nlemoyw. 

4M. -10. 
FmtK-liriR Adotf Tobler iiim 70. 0*burtHtage dargobr&cht von der Bnrliiier 

(lAM'Ilwjhnfl fiir doa Stiiditim dor netieron Sprnchen, Bninnwick. WmMr- 

maun, tt M, 
Bomwu«cli« Foracbungcn. Otvan fUr raukanische Bprochon und Mittcllal«iD. 

(IcraiugegvbonroiiK. VolaDQlIar. Rd. six. Heft 8. ErUi^oo, Juug«. lOM. 

Mftdiaval LatSn. 

Axz, Mkinrick, Die liiteiiiiMihoTi >tiij|:iani|iii>lo. U 1 item ichuii gen uiid Teite tar 
Vorgeschictitedeadeiitiichoii WoilitiacbUtMpiela Loiimg, Hinriohs. .1M.40. 

Mbtkk, WlLllKt-M, Qisamtncltc At>iiniidlunK(-'» xur iiiitteUiitvinisclii-u Rbylbinik. 

2 Bile. Berlin. WddiUHmi. 16 M. 
aoRMin, K. F, John linrcliivH ArttftiiiH (Litti-ixrhiHtorittohe Forachungen, xxxi). 

Berlin, E. Feltier. 4 M, 
WuiiiR, J., R<:itnt|v xiir Kundc dcr ktcininchcn Iat«nitur dea MittelolUors. 

Aua UMtdocbriftcn gcrvunuolt, 2. AuShxv. Aurau, B&uerlliiid«r. fi fr. 



80 



New Publications 



Italian. 

Bkattt, H. hi,, Yhiatt) and Virgil' London, Blnckio. 2«. &/. 

BELARniNRLLi, G., ]a quMtioDC d«lla iJiiguA. Ud capiti>l'> dj storia ilella 

IctUtnitum itAlinriiL 1. Dn IXmto uGituUnno Miuio. Kotno, V. Amadori. 

31. 50. 

Bbrtam, C, II tnnggior ]K>cta mitIo Carlo Gumgna c il Pcbrarcliumo dd 

eeiuentu. MiUn. 4l. 
BRHVom, O., n dJAletto di Mrtdono. Turin, LooActier. i I. 

BuHOKsE, a. A., Storia delk critica mmantim in lulia. Naitlea, ' Ln Critica '. 
fil.&O. 

OetARiM, G, ViU di Giaoumu Leopiirdi. FloreuMi. 4 1. 

Dartk. Odiicnrdariui ilHIn Ol^ere ilalUiK; iu uvwm a dH On.aMiniom Rdicvd t>; 

E. S. Sheldon and A. C. Wliite. Oxfonl. Ckwuniou Pwwa. 3(U. net 
DovADOUt, E„ Diiwor^i lottorati (Al£ui, Fctrorotu, Ijo tro doDcc d«lU Com- 

taedin). Piilcruio. 21 
KvKRKTT, V\*., nui ItHtiKii P'»t« (incB Doote. I/judon, Duckworth, S*. net 
dDnKuvATiR, A. UK, FrAncfMoo PotTArcA: corso di loiioni. Miloo, Libr. odit. 

anzioualc 5 1. 

LlEOFAxut, G,, I canti, comnieDUti da O. ^ergili ; aggiutita la Gtierm dei topi 
dvUe rune, con i Paralipomeni. TuriD, 21. iO. 

MuRARr, K., Dntxie « Boiuio: uititrilpiiL" Ma ^tlldil) delle fuuti dnntencbc 

Bolopia. 6 1. 
Pbtraiica, F., n Cnnzoniiim riimidotto lettm-almunte da! Cod. Vat tat. 3196 

aourndi E. MiHligliaiii. Konic, Eiucoehcr. tfil. 
Riiriab>ri luaclicai del ncc. siii. Tuto critica a cum di A. Paidncci. Bvrgaom 

71. 
ScROUCA. A., Studt aul Monti o aul Unnxoni. Naples. 2,1. SO, 
HoLiCRTr, A., MnnicA, IhiII» a dniiniiiatica alia corU) niedicea dal 1600 al 1037. 

Fljtreiitx;, BeiniMinuI. (Jl. fn). 
ZiiinARRi.i.i, N,, lat viu di Dnitto in campcndio, oon un' analiBi delle DivUia 

Commedia. Milan, V'alLardi. S 1. &0. 
SpanUb. 

Hrktmaxk, H., r'aldnroii -Stud ion. 1. Die Calderon-Literatur. Muiucli, 

Oldeiihoiarg. 10 M. 

CoADOH t FaAOCA^.T., La Inntjiia do Ccrvaatew. OramMica y diocioDnrio d« 

la Lcu);ua I^usU^UlLIla cu El iD{,-eui(t(K> Hidalgo Don Quijote do la Muicba. 

Tomv I. Madrid, Ilat^. 10 pes. 
Ckhvantkr SAAi'KnnA, M. de, El iiigonioao Hlda!^ Don QuijxiU) d« la Manolia. 

Edicicin fiUTSlmilc dt; la itiipretu en Uiidrid en ol afio lf!u,t y tlilS por 

.Iiiaii do la Cuesta. Bnrcolona, Tallereit dot ' Anuuano de la EiporUicioo'. 

4 pea. 
Cbbvastea Saavkdra, M. ds, El ingeniuM^ Hidrtlga Poii Quijote de la Maiiclifk 

Pt-iiuera ediciiin critlciL. Por D. Cleuieute Uurtejon, Tomu t. Baroolona, 

' La jVcad<5EU)ca '. SO pea. 

riT!E«AtiiK!K-KiiLi,Y, J., LaliU^ruttuv espagnolu. Trrulnotion fran^aiiio- ParU, 
A. C»lin. s fr. 

Icono^miiliie dw Mitioiis du Dmi QiiicHotte da Mtgud An CervKiit6s iWvedr&. 

3 vol Paris, (JhAiiipinn. 50 fr. 
UsAMiNo, M. i)B, Vidft de Don Qiiij(it« y Sancba •ngim Migunl do C^enranttM 

Soavedra eiplicada y ootiictitada. SaUmanca. 6 pea. 
Bonmanliu. 

Pui'uvici, JoL, RumiiniaoliD Dialekta. I. Die Dialelct« der Munt«Ql und 

PAdiirenI im Hunyader Komitat. Hallo, Nicmeyer. 4U. 



New PuhlicationB 



81 



Obandokst, C. Hall, An outline of llie Phonology and l^Eorphulo^r}' of OM 
Provcn(iiil. BoBtou. D, C. ticath. SdoL Ba 
FranclL 

(a) Q antral. 

ToaLKS, A^ 3X61fiLOgcs de (irautuiRin! frntiL'tiine. Tntductiati fratifsaise de la 
%!!« (Sditioa. Par M. Kuttiier ci L. Soarc, Paris, Kcard. fl fr, 

Becxeii, H^ \ho AufKiHBUiigdpr Junglrau Muria iti dcraltfraitiillniscb^n Litte- 
ratur. Duaertatioii. (iOtliii)^cti, VandoTihnntlc iiml Ruiirwht. 2M. 4(i 

Qau>i», S. li~, 'Cortois' and 'vilaiu". A atiidv of the diaiitiLtioii iintde between 
Ihcni \vf tlic French and rmvcuftil poetA of the 12(h, IStli aud I4th 
oaiituriet. Newh*vrii, Conn.. Ryder Printuig Iloiue. 

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WxtBE, L., filondcl de Kaslo : Liodor {UdnellauLian Air romuiiucim Litteratur, 
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Tome m. L'Hiatorion (1870-7S). 



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The tDcrCAsed attention given in rccc-iii years to the study of 
Modem LnnguagM at the Univereitics of this country and tb« 
oticouragvnmnt of research have made the need of a special organ 
rpprMK_>nting these studies aerioualy Ml. With the exception of the 
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The Modern Lanffuagt Revievf \e intended by its promoters to meet 
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io tbc Quarterli/, Eng]it>h languiigu and Hti-rBturc will receive a 
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short notes from contribulora, und it is proposed to publish from 
time to time hitherto unjirintcd documents, or t<>xt8 of litemry or 
phiJuKngical value. It is further int«nded to review or notice all new 
books nf interest io tbc student of modem Inngiinges or litemr)- history 
which nru published in this country*, and at least the most important 
of thifse published abroad, all longer reviews being signed. Each 
number of the journal will contain a clasHiftcd list of new publications, 
and. as Gir as si\iace will permit, Uie contents of the chief learned 
reriewR. 



The collaboration of all interested in linguistic and literary research 
is invited, and contributions are not restricted to the En^iah language. 
Contributor will receive twelve copies of their papers free. Additional 
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RHB8|«t the contributions which have bcoo promised, the following 
iU appear in early numbers of the Jieview : — 

W. Bako, Studien znr eoglbichcn Umgnngsspracbe zur Zcit 

HeinrichB VIII. 
H. C. Beechino, The Oardner'g Pasmdaunce, 
F. S. Boas, Love's Bogpital hy Oeorg« Wilde, an unpublished 

Seventeenth Ccnturj- Cooiody. 
H. J. CuATTOB, Lot Aplmts of Giraut do Bomelh : critical text 

from the 3ts&. 

H. O. FlEDLKK. The Date and Occasion of Shakespeare's Tentpetl. 

W. W. Qrwj. Some Points of Dramatic History. 

W. W. JiCKSOS, Notes on Pussagea in Dante. 

L. E. Kastner. Some Old French Poems on the Antichrist. 

W. P. Keb, Dante and the Art of Poetry. 

J. Lkes, H«ino and Eichendorff. 

F. W. M(w>KHAN. Shakespeare's Ghosta. 

H. fJELsNER, The Tnuuilation uf Scurrou'a Roman oomiyue attributed 
to Gnld»mith. 

K. PitiEUscH. Neae Fmgmente aus dem Peter von Staufenberg und 
dem 1iu9anL 

J. G. HouEHTsON, Italian Origins of aerman Eighteenth 0entai7 

Criticiam. 

A. SALMON, Etudes Bur la prononciation de I'aQcieti ftan^ais et sea 

modifications en Angleterrft 
0. C. MooiiE Smith and A. R H. SwaeS. Notes on The Devil's 

Charter by Baraabe Bamoa. 
A- A. TiLLKv, The Authorship of the Uh Sonnante. 
" Rabelai!) and Geographical Discoveiy. 

Paget Toynbek, Boccaccio's Comntentarjf on the Divine Comedy. 



Socictp for Promctind Cbristian KnoiDledae 

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Contents of No. I— May 1S05, 

hltiii« nod EnMbwu. 
Sontacrifnra* in Lvad, IWe, und Di« 
Fnrndas flpnohen. 
AfckdvmiKk PoroniDgtblail ButUiunwhut). 



Pnxn fta BagliBli Ingk^nook. 
Method tn Bo^linli. 
Ruglinb Books /or Schooli. 



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A lues LMtMin. Coropbi raaia. 

JoIm V*nui, IB28-IIM)6. 

(jodquM LiviM iln i'miuidre Ctitlt^. 

Sooka noaivod— tmulatiDna of Swedish TeitB laU> Oenaan, E uglisli mad Frenoli, olo. 



Contents of No. M— Sept. 1905. 

SoliilluT MuJ Die Gcgcnwnrt 
Bchtlloilitcriitur. 



Th? Kiplinft Rwnlnr ; (il ChiW I.iio in India. 
Th« ChciM of Ciifflitili liooks. 

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IN THE SELE<TriON OF AN INSURANCE OFFICE 
for the purpose of provnding capital sums at Death to 
meet Ftuntly Settlements, Fartuerahip or other BiisuieeK 
Amingemonts, Estate Datiee, etc., tlie main question, 
that of abciolate H©ciirit_v. is which Office will pronde thrt 
tuod oD tHo most motleraLtt terms, n'ittioiit Bacritice of the 
v&luable right to participate in tho Aurplos. 

THE DISTINCTIVE SYSTEM OF THE 

ScottisI) Prooidcnt 

rnstitution is specially suited for auch roquirfmont*. the 
premiums arc m mrxlemtfl that, at usual ages for afunirini 
£1,200 or tliereby may be secured from the firet fur thi 
yearly puytntint wliich would generally aasttre (with profits) 
£1,000 only — tlie £200 being equivalent to an immediate 
atui certmn bonuB. 

Tlie whole surplns goes to th« Po!ityboldei-«, on r 
at once saiV- and etiuiuUe — oo share being given to s ..■.^- ^j 
jwhose early death there is a lose to the common fund. 

Sotplos at latest iuvestigation £1,681,000. 

Over sixty per oent. of the tuemlKrs who died duriug tlie 
Vt«tigatir>n period were eatitled to bonoaes nhinh, notmthstandinj 
that tbe preminipa do not aa a. role exoeed tlie &on profit 
of otfaer Offiaaa. were, cit t-he uvcrago equul to tux addition of ori 
50 por cent, to ilic original asHuraiictis. 



ACCUMULATED FUUDS •'^" m MILLIONS. 

ENDOWMC^^r assurance— special class—WlTH PROFITS. 

Pronpeetum with fuU fnformMtUin Off tppUutlfit 

LUNi)UK ; 17 KciQ Wiuxut dr^ EC. ; West EitD: 17 fAi± Uau, txW. 
Head OmcE : No. e ST. ANDREW sgUARE, EDINBURGH. 



rovTH;KT« 



Koten on h:... . ...lJiiw wf Lope dti Vtga. By U. A Itr.vvKRT 

'Uvmrtnuuiuam (il* iht Imiuort&l Ben.' By W. Bak*- 

On the IrHrpreUtioo &/ 'PareRlio' in Dante (ftfnjrfw, icxvi 

106— 108X By W. W. Jackhon 
Notew on 'Tb« DHnl'i* Charter' liy Unmabf BnroAii. By A. r* 

H. SwAEN. O. C. Moore Shitu uml R. B. ^rKrttHow . 

REVIEWS. 

A. C. lirtiUey, .SV/. ■' 

— VV. H. VVitli,i„s •^.., 

W. Bang, ' 1' svr S«nd« d** Knijti*chi, 

I>ra7nag, vi luiti is; Yt'!- xx, x>v 

and xxviil ond other wcik .. u,., - ; i . Eni— ■ 

\(1 ifiiicUo JSngliuli Rt^tdfr (H. Lttti.kp\i.k)-— TV^j ; 
vf Alfrafiam Vowley (0. C Macvulai'V— I^« f-wfm* tt/ 
JoA/i ;f ■ ^ K. Wu.T — r ^->iU€>-» Skhr" -'- "■-■'-,.,■ 
K. Bi-.j, >'■ (J. a, . -v).— F. M :^ 

FifrA.»ttnij( J(t ^rdt Hyvou ; VV. Ohwubirin, W)# ^ '(/Vwi/irHtf 

lord r .,...-.., ^- . ■ ■ 

6 del Ca«iMM'#« di J>an(« (P. TovsbbbI.— H. 1-'. To»r 

X), .... 

(a A. PARRf) 

MINOR NOTICES 

NEW prKl.rCATIUNS . 



:it) 



122 



The iftiiiem Laoifbatfe Jleciea will appear ftnir timen a year, iii^ 
October, January. A|»nl, anti .luly. and th'' Annual Su' ■> wiW be 

ftit. net, [jayaldt: m advaiiDJ. Ihu •■■'-' "' "ingk* uuu..,..- J- tirf. net 
<po«t tnic B«. 6(1 aiiH 2m. Srj. r< y. with the cnmsHponding 

wiuividonU ill furoigu mnnii^). Tliu jmirunl in t»i-al to all ineuibcm 

wf the Modern I. ■' Association who hare paid their atibscripljun 

(}ih, Bd.) fur i^ 111 yt<ar. ConlribattoiL''. nhuirial romuiuni- 

cationa and booica for reriew should W aild! the Editor, 

Ptof i.'O, Rubto-tsan, 6, Lyon Rood. Han-ow. .^n' >, bo 

sent to «ny Bookseller f>r to ilr 0. F. (.'lay. Mt.i -ilgp 

Uoivonit^ IVtM WarchottaL', Yvitot Lane, Ltindou, E.C, U wbom aim 
tthould be addreeaod all commanications ret^Kcting' ndvertiaementa, 



VOLUMK 



JANUARY, 1906 



Number 



THE PRE-SHAKESPEAREAN GHOST. 



The clamical origin uf t>lic- Elizabethan dramatic ghmt hax long 
mDce been established, but the stages through which it postted in ita 
journey from Greek tragedy to Shukuspuaro, together with itx advetitnrew 
on the Toad, furnifth a story which has not yet been fully told', and 
vhicb is not without iiiti^ru^t. 

Tbe Rtartiag- point of the dmniAltc ghost is to be found in the 
toagMlifitt of Ae>lch.v]u^ wliu introduces the ghost of Darius into the 
Pvaat nnd that of Clyteninestr^ into the Euvienidet. These two 
gho«t8 have little in common : the former is called from the gmvc by 
raysdc incantations, entere freely into conversation with Uvinfj persona, 
predict* rli»u«teitj for the i'creian anii«. and before descending into the 
tomb, inculcAtes the familiar Aeechvlean lesson of avoiding presumption. 
The ghost of Clytemncstra. on the other hand, is the first of o long lino 
of revenge-ghosts. She comes back to earth of hor own free will, does 
not nppenr to mortnl men. hut. addressing herself to the sleeping Furies, 
spirits of kindred origin with Iieiself^, arouses them to fi-esh activities. 
When the Furies nwaUe she vani-ihua There \h no ghost in the extant 
pliiyu of Sophocles, and only one in those of Euripides Hut Euripides' 
ODV ghost — thnt of the munlered Potydonis in the ffecuba — is of the 
firat importance in the subsequent history of the clraraatic ghost, nnd 
mim, indei'd. as prototype to most of the ghosts nf I^tin. Italiiin. 
Spanish, French, nnd English tragedy down to the lime of Shakespeare. 
EiiHpide>i dt'iMiris fivm the Aeschylean practice of introducing n ghost 
into the drama during the course of its evulutiun ; the ghost of Polv- 
dtmis is a. prologue-ghost, and its function is to acquaint the audienue 

' flitm thl* f*jm «u writMn. Uiir foIlnwin(t «nrli Tim nppvrtrMl : H. Ankaiibimud, 
T - <!•* O'liln I'm Dtftaui drr rntftiithfa ftrtuiitiatLfr f MUnfhrttrr tlfitnifft tw 

--•.- imao tlkirisOD. i*ruff ir^MCiM li> f^ Study of Gritk tieiijiion, C«mbrtd|i«, 1909, 

p. aift. 



M. h. a. 



6 



86 The Pre-Shahespearean Qkost 

with the chain of eveulB which lead up to the point at which the 
tragedy begins, and also to indicate in some measure th(s direction iu 
which the Irajjedy shall move. 

Nothing presents greater difficulty to a playwright than tho ©r- 
[HJaitiou of a di-ainn by means of its first scene. To place thp audience 
in full itOBsession of the situation of aflaira, to foreshadow the course of 
the action, and at the ttaine time to reveal the character of the persona 
by iiicftn-s of dranuitic dialogue, is a task which makes no small demand 
upon a playwright's art. The Euripideau prologue -ghost, therefore, 
which removes wi much of this initial toil, may be regarded as a most 
ingenious lubour-Having machine. At the same time, by rirtue of its 
Bupematnralisni. it pi-uduces in the speclaiora a temtion of nerve which 
makes the sympathetic following of the play more easy. 

Whatever be the merits of tlic Euripidcmi ghost, ita nuccess proved 
Uiflting. When Seneca, in the first century of the Chi-istian era. gave 
new life to the themes of Attic tragedy and im|)arte(l i« them that 
raneid Havour of melodrama which clings to the Senecan tragedy in all 
it« later dL'Vclo|jiucnts, lit: adopUil, togciher with much other aiagx;- 
machinery, the Euripidean prologue-ghost, To be more exact, he com- 
bined the function of tJic Euripidean prologue-ghost with the rcvengo- 
motive nf the Aesi^hyleiui ghost The ghost of Tantalus in Seneca's 
Thyesles and the ghost of Thyestes iu his Agattiemnoti are the issue of 
the Euripidean I'nlydonis and the Aeachylfan Clytemnestra. Their 
sphere of action is the prologue, their speeches put the reader in full 
posBOSsioD of the tragic clueo, and the burden of their discourse ia 
vengeance. The presence of the Fury Megaera in the company of 
Tantalus in the Tk^estea is yet another reminiscence of the Eumenitt^s. 
though with the situation exactly reversed. There it was the ghost 
which arousLMl thit Furies, htru it \s tht; Fury which halus the ghost 
from Tartarus and incites hitn to take vengeance on thoee who have 
wronged him. 

Thyeates and Tantalus are the only ghosts that actually appear in 
Seneca's dramas, but references to ghost-lore and the spirit-world of 
Greek mythology are frequently met with in his plan's, and scn-c to 
indicate the hold which the dramatic ghost had obtained upon the 
Roman mind. In the pseudo-Senecaa play, Ootavia, the ghost of 
Agrippiua ia introduced and deliverij a lengthy monologue before the 
thinl act begiiu*. 

In these ghost scenes of Senecan tragedy there is the same delight 
taken in storiea of gross and monstrous crime which w« meet with in 



F. W. MCK)R1IAN 



87 



the Elizabethan revenge-tragedie-t. Seneca, through the instni mentality 
of hU gl)f»t0. (Brags beforo our view the offal of those oM-world hero- 
legends which the Ore«k tragedians had ti>uched with the lightest hand. 
He delights too in uia.king his ghostx dHScribe thu pains and tortures of 
Torunis. The references to Erebus and Acheron, to Sisj'phiis's stone 
and Ixion's whet^l, which fall so pat Irom the tijis of Bliznliethan ghont^s, 
axe all ultimately derived from Seneca. Moreover, the rant and bi^mbast, 
the truculent xpcecli and wild hj'ix-Tbole of early ElizabL-thnn tragedy are 
direct heirlooms of the Senecan play. 

Some twelve hundred years cIa])S<!d before the ghost once more 
quitt^-d the dwelling of Hades and dark Persephone to take its place ns 
prDlogiie<speaker in the drama, A roviviil of the Seniican tragtrdy had 
bcffim in Italy as ewly as the end of the thirteenth century, when 
Albertinn Musaato the Paduan (bom 1261)wro6e his two Latin tragedies. 
Kccerinuu and AchUleiH. Both of these pla^it arc fumiHhed with n 
Chorus and a Niintiiis. and closely reaemble the Senecan tntgwly in 
style; the ghunt, however, is wanting. Alxjut a centurj- later appeared 
the Pro^ne of Oregorio Corrario. written, like the tragedies of Mussato, 
in Latin vcreu. The plot of this jilay is drawn from Ovid's Metamor- 
/jAovft-K, but the constniction is Senecan to a fault*. The play is furnished 
with a prologue, and the H[ieaker of this is the ghiwt of Diomedea, who 
baa bc«n nc-nt to etirth from the reatnia of Pluto in order to visit the 
houne of Tereus and foretell the horron* which shall fall upon it : 

LuoOB ct amnes doscro infemi Jovia, 
Ad Mtra mittor ttuiier* convoxi poli... 

tnio Senecan fashion he speaks of the ' dira Furiarum agreuoo,' of 
the tortures of JSisj-phus, Ixion, and Tantalus, and then, when his 
ino««ige has boon delivered, declares that a Fury is summoning him 
back to the infernal jjoola. Throughout the monologue this !>iijmedea 
ghnft [unkes it very apjjiirent that he ha.? sat at the feet of Seneca's 
Tautahifc. 

JCew conquests wen? nrbicved by the Senecan ghost in the Italian 
eragediea of the sixteenth century. Tritisiuo's Suphoniaba (eiiv. l.Tli), 
which ifl osaolly regarded a8 the 6rst tragedy in Italian, contains no 
lOBi, but in the Orbeeehe of Geraldi Cinthio 0504-1578) there is first 
nil an Induction in which the Goddess Nemesis and the Infernal 
Furie-s ap[H^ur, and then a prologue-speech by the ghost of the dead 
Selina. There is again a ghost- prologue to the Canacs of Spcroni 



■ Bm Chi 
Fmu, 160$. 



iDg, Dn fikMi* drainatiqtiet itiiUt it Vantiq'iiU uu nV <f fv' Mt^i 

6—2 



7!fi« PreShakespecirean Ghost 

(1500-1588), while in the TuUia of Mftrtclli (1499-1^27), which is 
almost as old as Trissino's Sophoniaba. a bold advance is made. The 
ghost hero is that of Serviua TulHus, the sixth king of Rome. This is no 
prologue-ghoBt for the very good reason that Tiilliiiais a living character 
throiighiiiit the greater part of the play. After his death, which takcw 
place on the stage, ho Appears as a ghuut to hin queen in 'tnler to 
\inmvel the knot of intrigue and take of her n loving farevrell. 

The French tmgedians of the sixteenth centnry, who drew their 
inspiration in pan from Seneca, and in part from Seneca's Italian 
imitntoni, sewn cjuns to reeognitte the dramntic value of the ghost. 
Prefixed to the CUopdtre (1552) of fetienoe Jodelle is a lengthy pro- 
logiii! delivered by the ghost of Mark Anl-ony, and conceived in the 
ortliwtox Senecan manner. Anlony is not a revenge-ghost, Init, adopting 
throughout an elegiac tone, he bewails the misfortune's of tha post, and 
foretella new disjusters. Robert Gamier (1.545-lfJOl), who thmiigh his 
comioctton with Kyd brings us a al*p nearer to our own Elizabethan 
tlranin, is again a true Senecan. The close connection of the ghoBt 
with the Furies, which was already established in the Eumgnides of 
Aeschylus, and further emphasized by Seneca's Thyesles, in maintained 
by Gamier in his Poitne (1568). The prologue to this play is delivered 
by tho Fury Mi5gerc, whose purpose, as a true revenge-spirit, is to 
'eslancer le discord,' and tn predict the disaster* which follow in the 
play itself. 

In the prologue to Gamier's Uippolifte, Insteafl of the Fury 
Hegaera, there appeure the ghusl uf Aegeus, the father of Thoseua. 
He if no i-ovenge-ghrtst. but, like Megaera, he dilati^s on the thick 
hoiTora of the under\vorId, its sulphur-reeking air, it* flying phantoms 
and f(?arful beiists, and then proceeds to foretell the woes which ilq 
ini'xnmhle Fate shall bring mKin the house of Theseus. 

Ill France, as in Italy, a desire to enlarge the sphere of action 
piVHurribpd for the ghoHt by Eiiripide-i and Seneca made itself Mi. In 
Suill le Furieu.u (1572) of Jean de la Taille, who followed the example 
of George Buchanan in pressing itcriptuml narrative into the service of 
the neo-clussic:»l tragedy, there is no prologiie-ghost: but in the third 
act the dramatist bringH together Saul and the Witch of Endor (' La. 
Phitontsse negromaacienne '), The witch, by means of magic incAntations. 
summons from the grave the ghost of Samuel, who prucueds to call down 
ciirsuw u|Ktn the witch, and then.addreasing Saul, foretells his impending 
ruin. In all this Jean de la Taille keeps closi-ly to Bible story, but in 
the witch's incantations to Leviathan. Belial, and other fallen gods of 



F". W. MOOrtMAN 



89 



Hebrew lore, we maj' trace tlie intliierici; of the earliest Greek tragedy, 
and see on the part of do la Tailk' a desin; to get beliind Seneca and 
Euripides, and to reprodu»! the itnpressivo ghuait-sucnu of Auschyliut's 
Persae. 

Translations of all of Seneca's plays were published in Kngland 
bi-lijiv 1S70, thungh the collective edition, tht? ao-callwl Stnecci, Hie 
Tenrie Tragedien, edited by Thomas Ncwtoii, did not appear until ISSl. 
The apical which the. 8enecan gho.st immediatoly made to the Kcigtish 
reader is cnrioiudy attt'ated by Jasper Heywood'a addition U\ his trans- 
lation of the Troas (1559) of a long prologiie-sijecch, prcfixwl to the 
second act, juid deliven-il by tho ghost i>f Achilles, The burden of 
the tmmohi^c is roveoge. and thu Senecau accent is unniiatakabla 
throiighuul : 

J'rom burning kkes the ftiriofl wmth 1 threate. 
And fire that iionght but strafinieB ol liloud tunv »iljkke, 
Tlw n^ or winil« anil muu th«ir 8)ii)!{K<8 xhnl] V«atft, 
And ThtlH (ic*[m on y<iii iihall vonjjcjiHcr' take ; 
Th* *|>rtliM cne-. out, the cnrth iitia sww Aa i|milu!, 
Th« [Mjo!* of Siv«, uiigr;it*full (JreclcM it acsitb 
With alaiij^btr^.^ bloud rovf^nge Achilles death. 

Thft «oyln dnth ahako to bonre my KoAvy f<iot43s 
XnA fi»-*rth BKnyiic thr wipptofa if my hnnd, 
Tlio jHiolf^n wtCli tttnjftki.i <rf lhuiu]«rc)ikp rtii); out, 
Tlic flciibtfiil i-tTrrv-* .iini<l Ui<3ii- cuuixo do "Und, 
AikI fv.'irfiil] Pha-I>uit hkica bin bUttiiig bmndc | 
Tlio trf'uihlitiK Inkw Ji^yii^t tliuir CQurao At flitc, 
Fi>r dnrnd uuu t«rrcfur vl Acltillos siiright. 

Thiitt cArly. under the guidance of Seneca, did an English ghost l«im 
thi? art of l«iring a position to tattors. 

When .Sonoca'* plays woro first rf-ad and tmnalatod by EDglisbmen, 
the MoniliLy play, though its populinty was doubtless waning, was still 
in vQgiio. Accordingly we find tliat, although the .Sc-utcau rovengc- 
tra.gL>dy Boon won ita way, th(< fundneRR for moral abstractionB as dramatis 
peraoNoe inadc the entrunee of so eoucryte a figure an the historic ghost 
AOmewhat dillicult. Among the earliest of these revenge- tragedies is 
Pick«ring'H Uureates^, which was actod at Court in the year 15G8, and in 
which the inspirer of vengeance is not a ghost but Revenge herself, 
who appi'ftrs in coui[Kiny with other abiit Tactions, such aa Nature, Fame, 
CiiiiiiMfL Another revengo-lragedy, acted jit Court in the same year, is 
OitPittad of SaUmv in Low*, of which tho better known Taucred and 
Gummnda is a later adaptation. Here the spirits of vengeance are 

I Bd. A. Bnu>ill, QiKlltt* dr* tetllliehrn I>rawiat in Baflatttl vor Shakfff^rt, StrkMburg 
* Kd. ]SmiM. op. en. 



90 



7%e Pre'SJiaJ:espearea7i Ghost 



Cupid, vrbo ipo^ the prologue, and the Fury Mega«m, who in & long 
monologue prefixed to Act iv,, and closely modelled on the speeches of 
tht! Mognera in Seneca's Thjcstes. declares that she ha* been, sent to 
earth by Pluto to wreak vengeance on Tancred and Oisniund'. 

There is no ghost either in Ferrtx and Porrex, or in the other 
tragedies and tnigi -comedies which soon followed in its wait©. But 
between 1580 and 1500 the Senecan ghost took a definite place among 
the dramatis peramae of Englitih tragedies of revenge. The uncertainty 
OR to the clntes at which these early tmgodicR were first aclwl makes it 
difficult to record its firet appyarance. The Miafortviia b/ Arthur, with 
its ghoat of Gorlois, was certainly acted at Court in 1587. but it is 
|Ki8sibIe that both Kyd's Spanish Tragedy and the anouymous Loerint 
— buth i)f them provided with ghosts — are of enrlier date. Professor 
Schick regards 1387 as the latest year in which The Spanish Ti-ngedy 
could have been written ; Fleny says of Loerine that it was * evidently 
presented at Court, most pn)bably on Fobriian,- 13, 1586,' and Profpsssor 
Churchill thinks that it was probably eaiUer than 1387. 

The Mis/ortunea of Arthur, the work of Thomas Hughes and other 
law-stiidents of Gray's Inn, is Celtic in its theme, but Senecan in its 
cottflruction and style. There is accordingly the frankest acoeptanoe 
on the part of the ghost of Oorlois, who speaks the [in>loguu, of all the 
classirjil colour and imagery of a Senecan ghost-speech. This murdered 
British duke rants of ' Pluto's pits,' the ' channels black of Limbo lake,' 
and the 'deep infenial fluod of Stygian poo],' as though he had been a 
Tantalus or a Thypstes. Nowhere is any attempt ina«le to utilise the 
native, mediaeval-Christian, ghost-lore which is to he met with in the 
mediaeval biillatls and in the verse -romance. The Aunturs of Arthur 
at the Tame- Wathela7i. Gorlois, too, is a typical Senecan cevenge-ghost. 
While serving ai prnlogue-spealcer, he vows vengeance on the stxd of 
that tither Pendragon who has despoiled him "of wif«. of land and life.' 
and the threats of vengeance which be formulates acquire exactly 
that tnicidencf of uiiuuu;r wliich Scnecu. and his French and Italian 
imiULtora, deuiitndL'd of a revenge-ghost. In one respect Hughes takes 
a step in advance of Seneca. (i()rioi» appears not only iu the first scene 
of the play, but also in the last. When the work of vengeance ia fully 
accompliiihe<l, he reapjMjars on the stage, and declares that his fiiry is 

■ QhosW abound In tLo I>atin Uaircrut? pinyn pmtontivd iu tbe BllKaWttMUi ago at 
Oxford atij CambriJge. 1 omit all rcfurcocd to 0>c»o pl*}'i>, fimtlv bci'*'!*' toii*t at thaoa 
KTc iatvt tliotj Tilt M'ffi/rC«nre "f Arthur, The Spanith Tnifftdij, anJ Lvfriae, ».nA sHCOndly 
Imm»u>c their dir<:al boriiig upon the vcmncnUr drnmn i* vor]^ problenuiUe. i'otr •■ foil 
itccourt of tlinm i>lii.v«, Mtw CbtitehUI and Keller, Ihe liiifinuthtm Uwiverittnttitmnf*. 
yShaketpfare.Jahrhtieh, luiv.). 



F. W. MOOKMA.V 



91 



DOW assuaged; he promifiGfl that Britain shall henceforth 'bathe in 
endless wea),' panegyrises Eliuibcth, and then returns to Tarturus. 

The adv^anc* in the iiso or Senccaji g-hosmiachiucrv which we have 
just noticed In The Mis/vrtuties of Ar\hv.r is etill iii4>rt* pronounced 
in Kyd's Spanish Tragedy. The presence of Revenge amon^t tJie 
drrttmUU j>ereonae Iwks at firat like a roturn to the Morality, but this 
figu^^^ like tho kindred spirit of .Megaera in Seneca's Thyest^s, adds 
considerably to the dramatic offectivc-oess of the ghost-secnes. Here, 
too, the ghost of Andrea and his attendant. Revenge, are not pent up 
within the prologut: and epilogue of the play ; they remain as spectatots 
of the action tltroughoiit ita whole progress, and make thoir comments 
upon the events of each iu!t. The r^te of the Scnccan ghost on English 
soil is thus steadily enlarg'ing: at firt^t only a prolugiie-sptiaker, then 
summoned to deliver the epilogue ae well, it now unites with both 
these offices that of the classical Chorus : 

Here nit we down lo sm the inyater^, 
Aud nerve for Chonia iu tliih U'agedy. 

Kyd, like those who went before him, makes no attempt to substitute 
for the exotic ghoet-lorc of classic mythology the beliefs regarding the 
ghoflt-vrorld which were cam-nt in England in his own day. On the 
eontrary.hc exceeds Si-necu himself in hia reproduction of the ghost-lore 
of primitive Greece. Not only does the ghost of Andrea refer to ' fell 
AvemuB* ugly wjivt-s," to ' churlish Charon ' and ' Ixion's endless wheel.' 
but, in imitaLiou of the sixth book of the Aeneid, he also introduces the 
Greek tradition as to rites nf burin.1. Charon, we ore told, refuses to 
bear Andrea across the stream nf Aehenni until his son Horatio has 
duly performed the fum^ml obHcunies. Moreover, with hia Vergil open 
before him, Kyd brings his Andrea into the presence of Minoe, Aeacus, 
and Hhadamanthus, who pass sentence upon him and despatch him to 
the court of Pluto and Pnjserpine and to the 'fair Elysian green/ Kyd 
has from his own day until now been a by-word for bombastic speech and 
tniculent action. But, as already pointed out, these arc the eeseotial 
qnslities of the Scnecan melodrama throughout the whole period of its 
popularity. Kyd's delight in riotous rhetoric, or in scenes of bloodshed 
and violence, is not greater than that manifested in Ferrex and Porrer 
or The Misfortunes of Artftur. The tnith is that Kyd, while n-fuaing 
to sacrifice any of the gory detail of the Senecon revenge-tragvdy, yet 
endoavonrod to infuse into all this an element of poetry which up to 
now bad been wanting. The dead Andrea in consumeil with ju»t such 
a Berserker rage as the Senecans demanded from their vengeful ghosts 



d2 



The FiV'Shakespearean Ghost 



but there is a grandeur and rtsoiiaucc in the description which he gives 
of bis encounter with his infernal judgt-s wliich is ultogcthcr new to a 
ghmt-pmlogue. 

The lose of K/d's Hamlet mukea it imposaiblc U) tletennine whether 
in that play Kyd iiui<le yet a further advance in the use of ghoat- 
maehinory and intnxluced his ghoai as an actual participator in the 
action of the play, or whether he still retained him ait Chorus to the 
tragedy. Lodgo'a scornful accuimt uf the ghtMt ' which cried so miserably 
at the theator, liJie an oyster-wife, ilamtet, revenge,' scarcely settles the 
mattw, and the nuthorahiji of the English original of Der BestraJU 
Brudermord is still a moot point. The advajice vras at any rate inadA^ 
ay tho author of Locrine. Kleay ascribed this play to Pecle, and 
Dr Ward confesses that ' in manner Locrint reaerablcs Pi-ele rather Uiaa 
any other dramatist with whom [ am ixcquainted.' If w), it must have 
been a very early work of Peele'fi. for internal evidence aeema to ahow 
tlint it was written before the execution of Mary, Queen of Scote, in 
1587. The prologue to ilm British tragedy of vengeance i^ apokea 
by the Furj* Ate (c£ the prologue -speech by Ate prefixed to Peele's 
AiTaignment of Paris), who enters amid thunder and lightning, 'with 
a burning torch in one hand, and a flaming swoord in the other.' Her 
speech is in every way inferior to that of Kyd's Andrea, and keeps 
slavishly to the Senecaii model. No ghost nccompames her. but when 
the play has nin hft]f it« course there appears upon the stage the ghost 
of Albanact, the brother of Locrino, whom Humber hoa slain in battle. 
(See Oeoflfrey of Monmouth, Lib. ii. cap. i.) The ghost appears to his 
slayer, Humber, and the following conversation takes place between 
them: 

Hwnber. But why couiea AlbanActa bloodte ghoast 

To bring a consii'o to our Hii»crica J 

Iiit not onuiigh tu aiifTi-'r 4lLiiiii;t'iilI flight. 

But WD uii?tt bo tonii'-.titctl nun witli )(li<KU)ta, 

With np|mriti<>n» fiMirriill Ui IfoliuIO. 
(iho'i'l. lU'vi'iiK'!, ri-.vt!iix« f<>r blimil, 
Hwnltef. St) iiiiii^-iit will NiitiNJic jour wandriiig ghoost 

But dire revenge, iioiliiii;; but Humbcra fall, 

Ilecaiiso 1»« uoiiuufrod you in Albany, 

Sow by ray Miiik- IIuml>er wuiild !« cootleian'd 

Tn TftnUlJt lniiiRrr i)r tiionn wljtwk, 

Or W thu vuluir uf l'rlHlH!^!leul^, 

Knther ihAii Dial Uiin tuurtlicr were undone. 

Whan a.* 1 dio ile (IrAggo tliy cursed gboost 

Through nil ihe rii'ent <^t foule Erebus, 

Through burning sulphur uf I.Kp Limbo-Ukr, 

Tu iillnin \-\v» liunnug funii <it thut lieitto 

'['(ifit rH[{oth ill tiiiiio evfi-liLilinjf xoula 
Ohitajrc. I'indinta, viudictn. [Ejneuni. 



F. W. MOOHMAN 



93 



The aound and fury of this passage surest lioUownefls within, and 
thv cnidcucse of it all strikes ua the more afber the dignity of Kyd'a 
|-Andrefl. But the important thin^' is that the ghoet is no tongor A 
»pecUUor ab actra, but a »hiin.T iu tbu uctiou ol' tho play. The gboat of 
AlbanAct. emboldened by his successful Brat appearance, rctunu to the 
in Act iv.Sc.iii. Here Stnimbo is in the act of handing food to 
[umber, but the dauntless ghost strikes Strumbo on the hirnd, drives 
him and Humboc from the stage, and then addresses the audience. 
After number's suicide be once more appears, gloats, like a typical 
tvveDge-ghost, over the accomplished vengeance, and announces his 
intention of returning to the infernal regions. The classical colouring 
is maintained to the very end : 

Bttcko will I jMMi to holl moutli Taciiatiin, 
And pMB CoatiM, to th« Ztyviaa fields, 
And toll my fetbcr Bnitiia of Ui« itowM. 

A yet further use is found in this play for ghost- machinery. In 
Act V. jSc. v. there appears Uit- ghost of Corinvuti, who, like Albaoact. is 
a revengc-ghoBt, and who, in a long soliloquy, predicts and gloats over 
the fall of his enemy, Locrine. He takes no part in the action, but 
declare)* his intention of remaining on earth until he has fed his soul 
on Locrine's overthrow. 

The privilege vrhich the authi>r uf Lwrine bad extended to the 
ghoet in giving him the right of entry into the play itself, instetid of 
keeping him standing on the ttnvshold, was readily maintained by 
raccccdingdramatist0,so that throughout the last decade of the century 
np ligun> was more fiimiliar to tho ElJztibethnn ]>laygnt>i- tluin that of 
th«-' rv^^vv-nge-ghost whining forth his ' Vindicta' cries from undenMMith a 
whttv sheet. The tnie Senecans did what they could to curb the ghost's 
licii-nuc of action, and tt> confine him t(i the prologue, but the groimd- 
Ung«, who loved nothing better than for 

iMob iiarticiilar b&ir to stanil aii oud, 
Lilw (]uilM u[Kiti tbe (hitrtil (viqH'nitiiio — 

roiikl abide by no Hiich restrictions. Thus the second act of Peele'a 
Battle of Akaiiir opens with a high-pitehed prologuo-spcoch by the 
?nler, in which he telU of bloodshed, wari'are, and vengeance. As 
i*; is si»eaking, three ghost."* appear upon the sl«ge. utter the word 
VinilictJi' and retire, in Greene's Atpfivmaa. Kinr/ of drragon 
Medea the sorceress, by means of incantations, raises from the lower 
World the ghotft of Calchas, who, acconliug to the stage- direction, risea 
' in a white surplteti and a Cardinal's mitn?.' After making a speech, ho 



94 



The Pre-Sttakespearean Ghost 



is (lufipatchefl hy Mtnlea to mu|iiii'ti uf the Deslinieo vrhnt forUiue shall 

attend on Amurack iu his ware (ef, SaHl te Furieux). In this play the 

ghost is extending his empire by Recuring a ]tliice in comedy, and the 

name is tnie of the j(bo»t of Jsck in Peele's Old Wines' Tate, of ihat of 

Will Summer, the faniniiB cwimHlian, who playH a very amusing part in 

Nash'tt Will Summer's Last Will and Teitamevt. and tliat of Malbecco 

who finds n place in the annnyrawis Grim, the Collier o/ Croydon. 

Moreover, where the ghost dues not actually appear upon the stage, 

wc are often remindwl of his vogue aa a revenge-spirit by frequent 

alhmioiia met with in the dramas of the period. Thus Jn The Lookiag- 

Qlasa/or London aad England of Ort>ene and Lodge the Priest of the 

Sun Hays, 

The gltuiits of dead laon howling w&lk ubout. 
Crying vae, mt, woe to this cit>, wm I — 

while in Greene's James I V of Scotland the Scottish hing exclaims, 



Uetltiiilu i hear my Dorothna's 



[ho«l 
hate; 



Howling rwvenoe for my acour 

The ghost of those my aubjects that are alain 

Furaue me, crying out, 'Woe, woe, to lust!' 

But the limits of th* ghoat's empire are not reached, nor the dark 
abjFBms of melodrama ftdly sonnded, until we reach the second part of 
Mftfflton's Autmiio and Meliida (16011. Here horror runs riot, and 
ghostly visiiAtions cloy by their frequency even the strongest palate. 
The ghost of the mnnlered Andrugio uppean; on th« !ttagl^ thirsting for 
vengeance, at ever)* step in the action, while such is the vogue of the 
ghotitly catch-wonl ' Vindicto,' that it takes to it«ctf bodily Ibrm and 
becomes a pcrsouification: 

The fiflt o{ atrenuaiLi voitgca-lttw in oJuUht, 
And dtame VinditrtA towietb Up alufl.... 

Xet V. ae. L 

That the riotous excesses in which the ghosts of the revenge- 
tragedians indulged should have run their course unchecked by the 
ridicult; of the satirist was, of course, impossible even in an age so 
indulgent as the Elizabt^'thtui. The hue and cry seems to have begun 
about 1S1>D, when an anonymous play. A Warning for Fair Womeit, 
was act«d; in the Induction to thin play ar« found the following 
liaca: 

Thou, too, a 61thy wiiining glioMt, 

Ltpt in Rome foul shoot or a Icatbor pilcb, 

Cfomcti iKTrcAmiag lilc« a I'lg tiulf nticked, 

And men, ' Vinuiut^t I llvv«ii);o, Bwcogv ' 1 

With thftt a litltc runiii baalicth Furth, 

UIm smoke out of a tobacco pipe or a boy'» squib. 



F. W. MOOItMAN 



95 



The passage ia iotcrcsting m throwing light upon the etage-manager'a 
cleiioea for creating an atoosphcrc for his phantoms, but A Warning 
for Fair Wotntn was too liimG a play to produce by its incidental 
ridicule of ghost scenes much influence upon the populiir taato. What 
is tnnre important is to determine the attitude adopted totvards this 
ghost- machinery by those dramatists who were looked up to as leaders. 
Marlowe, except in the necramantic scenes in which Faust and M&phis- 
topheles raise from the dead the silent wraiths of Helen, Alexander and 
his paramour, made no use in his plnj-s of ghostly visitations. Revenge 
appealed tu him as a Lmgie niutive, as it appealed to so many of his 
oontempomrios, but to the blandishments of the ghost, even when, as m 
his Dido, ho stood on classic soil, he turned a deaf ear. Ben Jonson 
had recoiirsB to a dignified prolngTie-ghost — the ghost of Sylla — to sot 
his tragedy of Catiline in motion, but towards the revenge-ghost who 
come« from Tartarus to hurl forth his ' Vindicta ' cries he shows oaljr 
ridicule. (See The Puetnstei; in. i.) 

That the revengp-ghost was not soiitTed out by Jonson's ridicule, bat 
lived on and found a placy in such plays as Chapman's Rmieiigeiif Bussy 
eTAmboiM, The Atheist't Traffedtj of Cyril Toiiroeur, and even in so late 
a work as Lady AUmont/ (after 161)3), was largely due to the influence 
of Shakespeare, who neither ignored it with Marluwe, nor ridiculed it 
with JoTiHun : but, strijiping it of its nint and fustian, invested it with a 
new dignity and endowed it with a new purpose. 



P. W. Moorman. 



NOTES ON SOME GOMEDIAH OF LOPE DE VEGA. 

The followTug notes nrc written with the view to amending and 
amplifying the bibliographical portion of my Life of tope de Vega 
(Glnsgow and Philftdclphin, 1904). 



La Ahistad V Obuoacion. 

On page 4M of the above work 13 the following statement : 'AmiiAad 
{La)*jObl%gacion: — xxii. ZaragoM, 1630; Huelta (J. R. Qhorley] and 
CJnyangos) ; M-s. copy Cat, Bibl. Nacional. No. I4{). Dumn and 
M«8cnero Bomanos aesert that this is (with some slight variations) th« 
wiiiw [liny as Montalvan's Lwha de Amor y Amistad, but Chnrley notta 
that Muntulvan's is an obra rfiw'na. I have the latter work, and find 
that the first tine agrees with th« MS. though the closing line does not. 
The characters are the same.' There is a slight error here. The first 
two linos of the play ascribed to Montalvan are : 

Don Martin. No »6 cdiuo aiii luurir. 
Lojie, te piiedo c«cucha.r. 

Lucha de Amor y AimstadKi identical with La Amistad y ObUgacion, 
except that thu first twenty-nini; lines of the latter play are oniiltt-d 
in the funner, together with the chantcter of Belardo, and the few 
bnee assigned to that chiuiicter. When I wrote the above in my Li/e 
0/ Lope de Veffa I had never seen the very rare Parte xxil., published 
at Uaragoza in lOSO, by Fwlro Verges. ' a ctwita de IiiBi;pe Giuobart, 
Klercadcr de Libros,' which has since come into uiy possession, and I 
am thus able U> confirni the assertion of Diiran anil (layangos. The 
cuuiedia is undoubtedly Lupe's, and is wrongly ascribed to MontAlvao. 
Towards the close of Act ITI. the following pasHage occurs: 

$ra«r«. Boy Uusivo, nny Pvttta. 

Ao/w. Sov'* Vulgar o Ciiltcmno? 
Sewn. Ciuto soy. 
tope. Qiiodsw) va cnita 

y ebcriuiruy* uiia iwcrelc* 
Smwv, Tua ttecrutoo, uorquo cau«»? 
Lopt. Porqiie iiftdie W onticnda. 



H. A. BENNERT 



97 



Chorley is mwtokcn in calling the play ascribed to Montah-ufi iin 

■obra divina.' Cooceming the other plays in this Parte XXli., the first 

one: Jfwtea muoho costd poeo, ascribed to Lope (and undoubtedly his). 

is entirely different from Alarcon's Lot Pedtoa pn'vilegiattos, which 

latter, according to Hartaenbugch, also ejtiats as a ' suelta " w-ith the title 

A'unca mucho eostA poco, and appears under this title in Alaroon's 

Conudicu Bscogida^, Vol. tl. Madrid, 1829. 

Di SSenHra, saoards Verdad is by Matiati de los Reyes. The oon- 

cludiDg lines arc: 

AqutMitn CK ftl fin qu« did 
a au fabula BaiilU, 
y que oa pida, me pidid 
[»raon d^ Mil Immilde catilo 
y AHJ ciu \o 8U|>liuo yo. 

Battllo 18 a shepherd, — on© of the subordinate charactere in the play, 
and iR very probably the now de guerre uf Reyes, just as Lope used the 
name Belaitio'. 

Of the pemaining plays in Parte xxn., La Vtrdad 809pmAoaa ia by 
AlaicoD i Quien in«n anuM tarda ohida is a poor play and unworthy of 
Lcipo, to whom it is aRoribed. 



El Nbgbo del mejok AMa 

Profl Restori has printed a coinediu bearing this title, and uacribcd 
to Lope de Vega, from a MS, copy in the Bibliotheca PalatiTia. at Parma 
(Degti 'Autos' di Lope de Vega Carpin. Pannns IfifK, pp. 17—12). To 
me the authorehip of thia play seems doubtful, despite the fact that the 
US. bclongt^d to Franciacu de Rfixa», who made ficimc corrections in it. 
Bod the further fact that the last two sheets are in the handwnliug of 
Hartinex de Mora. It ik perhaim true, an Prof, Restori isayri, that I^pe 
has written won»e plays, but any third-rale ingenio could have written 
Kt Negro dtl viejor Amo. and 1 should be unwilling, oxct-pt on better 
fvidt-'noe, to nubke I^pt: rcqiomublu for it, Mira du Mescua's comtMJia 
of the same title, which I have, la wholly difiTerent ' Rosanibiico, 
Turoo,' is the princiiml character in the latter play, while in Lopc*8 
Aniidbo it is the ' Principe negro.' In the 1618 edition of Ljpe's 
Paregrino en *u Patria there is a Hat of additional plaj-s by Lopu* 
(repeating twelve b-om the &ret list of 1604); among the«e ifi one 

' BaiUo ia Abo on« ot i\\e characters io llie Comedia D<t que IHran of IitktiM dc los 
Bl^oa, 8«e »im> Bwr«r», Caldtotin, fip- 334, S-,iT. 

* (iaay : >bo )» tliu Hutbor vt this list id lli« vdiliou oC 1«18 1 Corlainl? Lope de V«0» 
had no pM U) drkwing it np. 



Notes on some Comedias of Lope de Vega 

entitled El ntmto Neffro, which is perhaps the play published in 1612 
(or 1611 f) ill the au-callad Tereera Parte of Lope, under the title: 
Vida y Mfierte del mnto Negro Uamado 8an Benito de Palermo, and 
republished by Ment^ndez y Pt-layo in Vol. iv, of the Academy's edition 
of Lope. Mescun's play is upon the same subject. 



Tbe Partes bxtravau&ntes op Lofe. 

It i« well known that the published culluctiou of Ijope de Vega's 
Conwdiae consistti of twcuty-five Partem, which were inned between 
ItiO* and lfi47. It ia equally well known that Partes iii. and v. do not 
belong to thin c<ilK-cti<m at ull, but to the s(-ric5 of IHferaatet Autorea. 
In the 'tassa' to Parte III. the volume is distinctly described as: 'un 
libro de doze comvdius, compuectjut por diferentcM Antonys' (cd. of 1613, 
Madrid, En casa de Miguel Serrano de Vargas); while the title-page of 
Parte V. is: FIot de coinedioji de EspaiUi de diferenten autores. 

Now, in addition to this collection of twenty-five ' Partes,' there aro 
three volumes which are supposed tn have existed, numbered ftirtcs 
XX^^., XSVII. and XXVIII., of the couiedias of Lope de Vega, and which 
are cnlhtl J'artee eidiavagan(a.ii, i.e. irrtgiiUr or odd Parte, anti some- 
times called ' las de afuura,' t.i!. not published in Madrid. 

The supposed contents of these Parta are given in Barrera. CufaWoj^o, 
pp. 682 — 683, from whom I huve takt-n thorn iu the bibliography of my 
Life of Lope de Vsga. pj}. 400 — iOl. The titles of these parts, as given 
by Barreni, arc as follows ; 

Coitiediiis de Lope de Vega Cafyib...(y otros Autores). Parte veynte 
y seia. ZHmgnza, 1645'. 

Comedias cte Lope de Vega Carpio...(y otTOS Autorts). Parte veynte 
y siete. BarccloDA. 1633. 

Comedias de Lope de Vega Carpic.Q/ otros Aut«re»). Parte veynte 
y ocho. Zaragoza, 1639. 

' Here Saircra add* a not«. in which he sbjv thai, m the dMo IMi indiiMto*, tlij* 
matt W «ilbex a i«'Utii>reii»ioD ol Ihu votuiue at of the titlc*pBf;e, and thkt tb-s voIoom 
oiu»t liave hvtm }iiiiit«a lor thw liivl Univ in IG-H^ <ir ItfllS, «» >» piuvad bj a |tM)Wg» iti 
Lope's £1 J>t*pret\o afradtrido, prinwd In 16^1, in th« i'fga dtl ParnttM i 

Intt, Puon un libra, y esM veU 

Oa hotA de gran proiiMtho. 
Don Bernards. Qulen «■ '' 
Inet. Parte vvulbels 

De Lupe. 
Don BtmarAt. £>ilito» «af>a«Nto», 

(Joe naa a-a nombre u impiimcn. 

(Ed. of 1CS7, (bl \C&.) 



H. A. RENNERT 



99 



It will Iw observed ibat the titles are alike, except as regards dates : 
ni> detaiU an* given. There is a good reason for this, as we shall see. 

Thtjse thrtw volumes, Paries xxvi.. xxvii. aad xxviu., are known us 
the Partes extruvagantes of Lope, though Parte xxix. (En Hue«», por 
Pedro Blostin, 1034). of which there is a cop^- in the Biblioteca Nacionol 
at Madrid, has an equal right to be so entitled. So far as I have been 
able Ui learn, nobody who has written about ttiese Partem extravagantM, 
or who has quoted them, has ever seen them, except Fajardo, Nobody 
else even prttendij that lie has suen any of them. 

In any discussion of these e^travaffarttes it seems to me that the 

testimony of Biirrcnt may fairly be disniganlufj, for, ax it will be shown, 

he has simply copied Fajaidu. ' All that we can do therefore,' as 

Wr Fitxmau rice- Kelly says (in a letter to the writer), 'is to fortn an 

eBtitnate of Fajnrtlo's credibility, and base tentuuvc conclusions thereon. 

Speaking genendly Fnjaido is accurate; apart from oceasional slips, he 

Hurvivcs the triid of Wing ttisted at various [K)ints.' Now, in addition 

to the statements of Fajardo, the only other evidence we have of the 

exisumce of these ejctmvagantes (except the passage from Lope's 

citrufdia, givca above) is to be found in three niade-up volumes (totnoa 

eoUcttciot). formerly in the Oaiina library, numbered respectively 131. 

132 and 188, and described by Schack, NadUrHge. p[). 4-1 — i2. Their 

contents arc to be found in my Life of Lope de Vegn, pp. 437 — 438, 

"fct^ther with the stAtement of John Ruttcr Chorluy. that the refi-rencefl 

to the Partes e^ravagantes are introduced by Barrera un the sole 

[Authority nf Fajanlfl's /ndar. and ttmt Barrera omits to give the render 

very neoessary infonuation that, so far as can be ascerbuned at 

present, these volamen (the extravaganiea] do not exist, save in the 

ita ID the Osuoa Library* above mentioned. 

Now let tis teke the cmc^ of I'arto XX vi, Ziuiigoza, 1645, noted by 

Banvra on p 682. Tlio contents of this volume urv simply copied from 

Fajardo; a thing which nobody would guese, but it is so. Among the 

pUye included in tliis vulumv, Fajardo givt.-s El Xacirniantu de Alba 

and Kt Prodigio dt Etiopia. They exist respectively in vols, 131 and 

132 of the Oeuna Library- (a fiict whic^h Barrera mentions in a nolt;), 

but ill the list of contents of these three volume.^, as we have it, both 

tbcM- plays are marked as 'sueltos' (whether without pagination, or 

paged separately, is not indicated). Unfortunately wc are m>ve unable 

tu verify such accounts as we have of thwie three Omma volumes, as 

thoy arc not available at the Bibliote&i Nuciuual. I happi-u Ui know, 

however, thai Uiere is now in the Uayangos collection in the Biblioteca 



100 



Notes on some Comedias of Lope de Vega 



Naciooal a copy of Amar ccmo te ha <U Avnar, for example, which is 
given in ToL 131 as a 'auelta,' bnt which is paged 214 — 233. Chorlejr 
bad a copy of thia play so pagod, as had likewise Sak4 {Catdtogo, u, 
pi MS), showing that, in aJL probability, the details of the Osuna 
volumes ivre not entirely accurate. Of Kl Prodigio de Etiopia, the 
only •siielta'— also from the Onyangos collection— is iinpnged. Bat 
even if El Nacimiento de Alba and El Prodigic de Etiopia were 
paged as 'stteltaa' (though it would weaken the case), still it would aot 
be positive evidence that they may not have been contained in Parte 
x:(vi. extramgante, inasmach as Parte xxix. (Hucsca, 1634) is made up 
almost entirely of piays separately paged, as are likewise all the copies 
of Lope's Parte vi. that 1 have seen. Hence wc may, perhaps, fairly 
infer the existence of an otherwise unknown volume, containing these 
two plays, and wo may ansume that this volume was the Parle XX vi. 
ejetravagante, mentioned by Fajardo as containing the said two plnvs. 
So far this corroboratea FajardoM statement. But it must be ob«er\-ed 
that the corroboration in only partial ; it is limited Co the two ptayB 
abovu namod. Fnjardo may be right nn regards the remaining ten 
plays. The presuniptirin is pvnn in his fiivour. NpTerthelnss it in 
nothing more than a prt-'stunption. We know nothing that would 
justify 118 in spejiking tiecisively on this point. 

Again, take tlif eaMu of Parte XXVii., Barcelona, 1633. noted by 
Barrera on p. 682, ool. 2. The contents of this volume are also simply 
cojHc^l by Barrem from Fajardo, and again Barrera says not a word as 
to the origin of bin information. He merely mentions that one of the 
plays in thiM Party xxvii., Luiua por Lama, in in Vol. 1 33 of the Osuna- 
Library, and he goes on to say that this Vol. 133 is in the main made 
up of fragments of thia very rare Parte xxvii. extrtivaganie. Ohrerve 
that Barrv-ra says this Vol. xxvti. la very rare, but he carefully avoids 
saying that he has seen it, and skilfully conveys a wrong impression. 
Yet the ca.se for xxvei. &rtratiagante is very strong. The Osuna volume 
No. 133 contains seven plays, with, appanmtly, a continuous pagination, 
from tV)l, 1 to fol. 14'6. and six of these plays are said by Fajardo to be 
in xxvu. Mtraviignnte. Now we have some knowledge of this pagina- 
tion olsewhere. and it partly confinns the contents of the volume, 
though not in the order in which Barrera has given the plays. SalvA 
{OaUlogo, Vol. l., p. 548) tells us that be possessed some fragments of 
on unknown volume, and combining his data (he gives the pagination of 
his fragments) with what we have in Osumi 133. we get the following, 
for the contents of Vol. xxvu. eMrnm^ante : 



i 



H. A. EBPfNBRT 



101 



LxMtt par LantUy la de I,vU tU Altiutnea, fola. 21 — 38. 
& SaUrt de CatnpiUo „ 3f>— OS. 

Atla dard^, Rayo „ 63—80. 

£a Sdw con/taa „ 81—100. . 

Jvlian Homero ., 101—122. 

Jm Varyat d* CiutiUa „ 123— Ua 

Wtf have, thvrufore, very Htrong inclicntioiut of the exiHtence of a volume 
■which boa left no other trace behind This is a decided corroboration 
nf Fftjardo. It will be .>^een (/'i/e of Lope de Vega, p. 438) thai 
Chorlej's aud Salvd's fnignicnts [mint to the vuiicluaion that Julian 
Jiontero ought to be inehwlod in xxvii. e-rtinva^iiTite \ its oiiii^siun 
womii ua to check t'lyiirdo's Ktatctucnt-i iia wc .ih<juld thosK of aiij- other 
biUiogmphuT*. 

Concerning Part,e xxvili, extntvagante there is tin confinnation of 
its oonieats (so far us I know), aa given hy Barrera, who tivkcs them 
Fajardo. The tatter, for cKample, ^ves JKl lAihrador ventxi^roso as 
in xxVlll. extravaganie. Chorley conjectuifs, and I incline to agree 
with him, that Fajardo iHThit[B meant to write xxvili. [H/ereniea. 
which docs coDtain ii7 Labritdor vetituroso. This may be a slj]) of the 
pen, for Toliimeit bearing the name iiumlMir, but Wlonging to different 
scries and issued ut divunt times and places, do occasionally incluilo 
the same plaj-s*. But liarrcra is certainly in difficulties in regard to 
thia XXTlll. extravagnnte, wlijch he etays contains El Palacio coh/umo, 
eribed to Ijope. Fajarrlo simply notes; 'En Parte xxviii. de Meacua.' 
'Ho may have meaut £scogida$ sxviii., and true, there it is, but 
ascribed to Hescua. Barrcm simply substitutes Lop« for Mcscua, con- 
fusing the naatter with Vol. xxvjii. Diferent«4 of Uuesca, where the 
play is ascribed to Lope^ 

* Ur Pititoftiui'M'KAlly ■VJniii'iL) xa*. howovor, X\xtA Ftijftrdo montiOiiM Jtillan RatOfra 
,am b«in|t 'm mi PmIk it d« Zaraeoui.'niiil nnftffssts thai ihiu taxy Iw merel; a Blipol the 
I •opliM'* lor ■ Paitd 37.' 

* SIMM ttae »bova piuaa«« nftH nillteu. Mr Fits man ric»-Ketlj hat pointed out to in« 
UhI «ttb Ibe noepUoo of Ei train nnidn tununUfft (which occura in Vol ui, [H/ermia 
o( UiHKa, 16IKI. osder tke title of £1 UariOa fiact mnjcr). all the pU?" tuenlJoDed Vt 

kFa)ardo m being ia Parts xsnil. t^mimgitnlt are t;ivea in xxtiii. P{femH** of 
pBoaWi. IKM. 

■ Hvv l)>e »i^U> in my l.i/f t/f Lopt itr t'rjfti, p. Ci'H. All Ihe infonnation in thli anicUi 
J«OBeeralag Ftijiudo'* lodf-x (whioL I havu ijavtr aeeu) ban been kiudiy [umUhud by mj 
I'frimd. Mr FitUBKoriee-Kcll^. II ia n ktviH nutMiuitiou. uiurvover, to koow tbat hU 
— ioion at iba extmvaganltM itt in nuLmtutilaal ai^ii.'oiuciii witli ijiine, 

I nuyidd li«i« that iu the lint of c^Dtonta t-r I'artxxix. (EaHnrflCB, per Pedro Blawa, 
16M) Civoo 1>J Banvn. p. &ii, bo bu entirely omittcil the vQcond piny, l>o>ulf no tttd m 
Dmiit, «<t4 «u DmI^, ueribcd to Lop«. From tho contcntH of thli volumo, which I anb- 
join, tl *i]l b«> Mon that it iu a madf-nji valumtt. 

l>t>tt Comtdiat d« Lopr dt IVjin Ciirjilo. Tart* vafDC* y imciiB. Kn HtiOTOa, por !'«dro 
.UoKX). AAod« lU'l. 

La PtUoma ttr ToUdit: — Loin, BcpniMutAla Ai«ndafio, foil, 181—140. 

DviuU no uid fu DvHi^, tttd lu ttuelo .— Ziom, BcpreMiot^la Pndo, foil. 08 — 81. 

Omfrrrmat y tnfrir lumo* :— L9p«, (olt. 1— 40 v. 

£«■ UMirtt de ihidnil ; — Lope, fela, 1 — SO y, [La prM^tra 

M. U. K. 7 



103 Notes on *ome Comedias of Lope <le Vega 

In the matter of these Partts exiraKagantes, therefore, the testimony 
of Barrfrni newl not be con«i(It?rwd at all. He had never sevu the 
extravtignnlea (nor Hoes he. in fact, saj- that he has seen them, though 
he permits us to iofer as much) ; ho ha;* simply copied Fajurdo's Index. 
Chorlejr possessed a MS. ctpy of this Index, and was. moreover, scrupu- 
lously careful in his BtttteiiicutM; on the whole ho was a much liotter 
gaide. Fajardo. as we have stated above, was the only man who ever 
aaw these eairavaganteg. As Mr Fiirmaurlce- Kelly has said, in a IclUt 
to me : ' Apart from the Osuna voluuies, the solitaty witneas [coDceniing 
the«e Parten eatravtufonta] in I'*njard<).' 

To sum up. (L) I heliave there was a Parte xxvi. extriwa/faRtcz 
{a) on the strength of Fajardo's assertion, and (6) because of the cor- 
roborative evidence in the Osuna Vols. 131 and 132. and (c) because 
Ijope tie Vega in his El Deaprecio uffradecido distinctly eoys that there 
was such a Parte xxvi. (2) I bulieve. too, most afcronj^ly. tlwit there was 
a Parte xxvil. extravaffante : («) on the assertion of Fajanio, which ia 
co[iiinned by (b) the plays in thu Osuna Vol. 133, by the fragments 
possessed by SalvA, and by (c) Chorley's fragment of Los Var^tts do 
Castilia, corrL-sponding to pp. 127 — l-liS of thin Otsuna Vol. 133. (3)1116 
existence of a Parte XXVUI, eatravagante, as Mr Fitsmaurice-Kelly 
■writes to me. 'depends entirely mi the amount of w>ufid('nce to be pljiced 
in Fajardo.' Hr is not iuf'alliblv, but his credibility is not Htrrioualy 
shaken. Heaays there is (or was. rather) a Parle XXVlll. extravagunte. 
He makua miatakes, perhaps, in this cosu (see concerning El Labrador 
venturoso, p. 101, and especially for the remaining plays, note 2 on 
p. 101); he appannitly makes a mistake atao in tho case of XX\1I. 
eairavaffarUe, which sliould include Julian Ronwro. 1 find lew corro- 
borative evidence as to what Fajardo says about .KXVIU. extravagemte, 
and so its case is very much wuoker than that of the two preceding 
volumes, yet I am inclined to believe such a volume existed, though 
this belief is wholly baaed on my faith iu Fajardo's asaertion. 

Unfortunately, us I have said, wo must for the preacQt bo content 
with the description which wc now possess of the Osima volumes 131, 

JjO pnioiura Fartuna dr lUm littruardo lU Calnera. Lopi-, tcilM. 1—82 v. 

l.a adufrta FuTturut df don Scrruirda dc Cab'eru; — hape, RepteeuDl/rlK Uonln. 
foil.. 1-22 ». 

L»f Hottdadei dr £emardo del C»r^o; — hopv, Ueprwont^U Ito^ao do Ficacrot, 
foil. 1— 20t. 

PiuoBtmr tl SoI.mUouu la J^iinii.- — Lapn di> VogB oraiuiHl out Kod Cluninoiit* written 
ftbov«, ral«. 1—39. 

Kt Cerco dt i'tiion d» IVtfi:— Luis Volw An Otinrsrs. (ol». 1 — 30 v. 

KC Cautitfo I'fninrewii ; — FraDotsoo (3e Bitrrienloii, Cola. 1 — 10 v. 

Vn Qtmtc tnit mil Uit^ueUu /^Jiiaii Pcroa <le Monlalbkii, tola. l^SO t. 

El llambrc de maym fama . — Dijulut Mura de Ueectuk, [ula. I~17 t. 



n. A. iiE:nv*ERT 



103 



ISS and lUS. for, an alrcndj stated, these Tolumes aro not, so fiur 

I can gnther, available at the Biblioteca Nacional 

Of sotQp play» contained in the Osuiia volumes, duplicates exist m 
the Bibliiitttca Naciunal, muatly fruiu the Guyangos coUeetioQ. I subjoin 
the opening and closing lines : 

AHAB COHO SB HA DE AmAH, 

iSu4lta; BiblioUXJft de Filosofin. y Lotrw de la Univcrsidnd Central.) 

ConuKlia Famoaa de Lope de Vega Caqiio. Kepresontfila Suarez. 

Hablon en ello las [icrsonas siguienles: 

Don Pedro do Cnrdona. Turin. 

Don Juan, an hemiano. Rugoro. 

rClarinda, Prinocsa. Lucindo. 

Ilicajtla, y Julia, labradora. R! Condo Roberto, padre de Ricaido. 

Aetu PrimertK 
StUea Don Pedro y Dun Jiutn. 



D.Jmtn. 
D.Ftdfo, 



D. Ptdro. 



Puew! ol R«yf 

Yd w [tiutliS 
para ca^ti^r *1 R^y 
de Naiiolei, al Vuroy, 
que CUD Sicilia se alfi. 
P»ro JiMD que stAxi 
)Mrk AKtoruarlo el cMitigo 
an miftlado (tnsmigo, 
ooii otrn taxtmatt annodii. 
Ser& doMA infntue eopftdtt 
i^l luar sopulclirv y c«u>ti^. 
Y*> con quodar tue quwliulu 
Gorrido, nunque tio le viejttt 
■ mi siDor, por ocr taa cicgo, 
el cMikmtQ que luc & d«do; 
que a au coobujo de Gstkdo 
61 Rey uiu uiuudu uciidir, 
todu w auruir, hi en neruir 
al dueuo Jo luia cuojoa, 
oin vcroB) hormosoa ajoa, 
ex uupod>ibl« viuir. 



[foLS33\-.] darinda. 



D. Pedra. 



D. tTiton. 



Kason j amor iiit! ncmiiHiiNO, 
dflsde or, doii I'uilni >■ Riourdn 
Bejres ae Mapolea twen, 

3u«jt> r doD Junn lo Beromos 
e C^cilin. 

Qiiieu pudioro, 
still) Lu injteiiin y mlor, 
iliir tiiu diuiiiii sentenciat 
8eEiora, can que [uUubraa 
quMvra que vo lo agr&dfiica 
untA iiiuTced y fauui'I 



7—2 



104 I^ote-t on some Comedias of Lope de Vega 

Clariiula. Con que nolAmenta uiraodss 

a ainar <w«m a# Ao m amor, 

□ tie «t^ Ia inAY'ir «xoel«Dd*. 
JVn'n. Piiea ik) dan nadii n Turin T 
ClwrintLt. Ktws Turin cl qii« mieiuuiT 
T^irw. Yo roy. 
D. Pedro, pilot <lil« nl Satuido 

quv aqiti iwtttu la Coiuedia. 

Narik) Antonio Vandolebo. 

(iSuflfta, paged 235 — 254 v. Bibliotcca de FUoeofia y Letna &c.) 

Comcdia famcMui ilc Liipt; de Vega Caq)io. 

Hablan on cUa las jwreonas sigiiientes: 



El CSmde dc Minmdo. 


Otro soldAdo. 


Podro Tftlln. 


Nudo AntoDio. 


Liseno. 


BeLarda. 


Iieonarda. 


Un Capitan espoflol. 


Pasciift! .,, 

,, ., V] llanos. 

Martm 


Ricardo, su padre. 


Leonido, 


Gnranio. 


Valeria 


Celia. 


Laura. 


Lisardo. 


FlOTO. 


Ijeonck* 




Moyou, 


Kufino, taercadcr. 


ButisWla 


■ soldados. 


Montilla, vMidolero. 


Ybafles. 


Roselo 




Trc« vnndoltTos, 


Liseno, pastor. 


Timbrio , 




Julia, criadii. 
Acto Primtiro. 





8n9na mtttictl, y snlen ItatisteUi, Leoneto y Roselo, soldados. 

Baula. Btaua recribiinionto. Xmm&i. OoneriMO. 

BniiUeUt. Uc NnpAlAn mi iwfiierfo A^Jrodit/ido, 
que &! Ccndc dc Miranda, Taleroio, 
iQtiostra on fewtincfi f;en(ir&I a.p]Aiuo: 
puMJ« lUiiiikrec ei K«jfDo venturuoo 
con tal Virraj*, qiu) a fiier de buen soldado 
oy jk honrjido oon pNmio* In tniliua, 
mczoloDdo la piodAd coo Ul justicia. 

LlMtU. A aquevta natn vifrno. BotUttta. Aqut voromos 
laas e&pMici el vuJor do nu [irectviiL'iii, 
a quJeu tan t;raude luuor luo uiaa duucoiotit 
darofl indiuiOH de bu real domeucla. 



[foL Sfi4r.] Loanardft quiero que tooga 
fin roligiotM, uyudcmdo 

IXU71 sii dfitc mi liAzicnda, 

aeri »\i cHrcel ixjriiutiui- 



n. A. RENNCRT 



105 



Hardt. D«X(imc beaar tua pi«s ; 
volo u» Eafwiial ])udierei 
bftMnoe fftror tan grHtid« : 

Jk LeQDar<]» vioo quodan, 
■.mo tw) bra^M f al cioto 
a Kiinio Antonio cucomicndK. 
LevHoriia. Ku jtuvdo niifrir vl IktiUi; 

lounr coiiligu ifuiaierH. 
/fardo. Ueuadloa, que me entoniecen, 
]H>r(^uo ttichoeo fiu tenga 
Vl vidft lie Nitnlci Antonio, 
<jUD oy ogTDrdiU'ua d«t<«ca. 

QUERER MAS V SUFRIIt MEN08. 
.(In HoM GomedioM de Lope de Vega Carpio. Parte veynte y naeue. 

Ed Huosca, ]63<L) 
CoDiodifi iamoea d^ Lope dc VcgA Carpio. 
Habliui en ella las personam siguicntes : 
Don Dtcgo do Castro. Jacinta. 

DoD Jaan de Ribcm. Loik, criado. 

DofiA liconor. Don Luys, padre do Dofla Ana. 

DoAa Ana, su prima. Cesar. 

Jornada Primera. 

Salen Don Diego y Don Juan, 

D. Ditffo. Hitble, doD Jit&i), «1 a«6ro, 
sujxiMto quo vf<« c«lUy», 
qun di; okm; ■ilotK'io infiero 
que A |>el«itr tuc »w:«>>s 

V lutitiiiixefXNt quicrci. 

don Jtktu, do ipwtar rtuoueti, 

J wei iKxlrtt^B tMcuaar 

ol podir satuiCsocioafls, 

quando ik> tu pienMi dar. 

Hn conocidv cl intcnto. 
Don Juaih Si, dut] Uicitu n uno vcaia, 

puni dcxir ju quo iiieuto 

miiero, »i ccirtw ino oUi, 
Aen Ditgo. Ya on mcucho. /Am Jifin. RetUd atcnto. 

Ya aatxiys que en ciBrta calle, 

no OB inenostcr quo on Id noDuro, 

tiao yo a6 quo U giudrcyi 

ooDOcer iior tuiv infitrmtn. 

Y w bien piua<ar|ji «ii Hileudo, 
par loa trODCiw que iioa ojen, 

![ue eKucfaan niiidos a rezea 
que (mblican a roxefl. 
Sin'u u luia dAmn, don I^iego, 
cbn> ratil qu« qiiiPii rocutide 
auii ol iioniliro do In callv, 
el mtyit e» bivii tiua (wtduim. 



106 Notes on some Comedias of Lope de Vega 



[fcl. 20 v.] SaUn Jacinta y Lope, 

lope. Vive Dios, qiic qunndo vi 

ol olburmU) y cetnionJo, 

y Im voim, (initie Anr 

con \e» xiMKTiivt rat (0 siiftlti, 

quL' ciiieiiili i\no l« inntnnia; 

eii efeki no &Ak» inuerto} 
2)on Ditgo. No, Lope, sino caxado. 
£(^ Puw> tiiu qtwntit qiie mc la meMno, 

V mrii quontA luu^' cintA: 

liiiciiii HH ilexiumc al Henmo, 

y niitJiinie n cuttir. />. Dirtftt. Qiie quierHt 

VeiituTOBo yo quo ll«so 

CarU at coMT. fioha Lfonor. No tan Urde 



Zopt. 

Lopr. 
Don Lvjft. 



que Jacinta. Loj>«. En Itn no pitedo 

OMcapArme. // iHtgo. Xo m jiossibla 

No, |ni«n )W£i(nii:iii, y fl|*l"> 

inra H oajnti. Juei'nta. MalcM aiiii*. 

Venid, popqutf euKcurUmoA 

estaa bodoH. £i. Oie^ Eato ha sido 

ovefw »cu, y ni^>'')nm(M. 

tiU fitltas dimimolnd 

dMU (uiiunU) ntrovJTnicinto, 

de aqtid quo dcMVL gorriro*, 

que ettto Ic hmtta por |>rami<\ 



DoNDE SO estA 8u DukSo, estX su Ddkix). 

(AIbo in Doxe Comeduts de Lope de Veffa Citrpio. Parte veynte y 
nu«!ie. En Hiiest^a, por I'edro Bliintm, afto de 1634, ThU coiatHJia is 
not mentioned in the list of playa iu this volume given b)- Schack 
an<i Barrera.) 

Camedia famoaa de Lope de VegR Carpio. Represejilula Pmdo. 

Hubluj] en ella liis pcnotuu) sigiiientes : 

Ei Cmido. Sabiun. E) Duque dc Tcrmiiuva. 

DoD Diego. Leouur. D. Junn de Ucimcn, veedor. 

Un Paje. Trt-a Capitanea. El Diique de Panna, 

Vanquete, gr&oicwo. Don Pedro. Un MaoBtro dc Camp<x 

Aurelia. Zainudio. Un criada 

Dciiia Juaua. VilUlta, CrhuUiK. 



Acto Primero. 

Salen el Conde, y Don Diego. 

COttde. EiitrMiMuluiimito im tw, 

ODD v-iLiwlm BuorU) dichoaa, 

contfoita D. Diego. Tetigo una oipaaa 

a tuedida del d^nHeo : 

la dioba ijiio yo he tcniilo 

lli M Murine ni no «a)>o. 



H. A. RENNEBT 



107 



Conde. 
D. Ditgo. 



Conde. 



[fol. 81.] 



Aurdia. 

Vam^uete. 

Sabina. 

Vanqvete. 

Sahvna. 
A urelia. 
D. Diego. 



Plegue a Dios que no se acabe, 
que ha poco que soys marido. 
No puede ser, si segura 
tengo la dicha, y el seaso, 

nue tengo a un mismo peso 
acrecion y hermosura, 
y hermoBura y discrecion 
la vez que vienen a ser 
iguales en la muger, 
en el hombre eteraas son. 
Tanto al gusto vjve asida, 
que pienso al conaideralla, 
que ay en mi para adoralla 
en el alma poca vida. 
£1 mayor bien viene a ser 
de la tierra auer llegado, 
a estar siempre cnamorado, 
un hombre de bu muger. 



Quando no porque la deco 

ro la vida y tu lo mandaa, 

lo hiziera, por verme aora 

el cucbillo a la garganta: 

tu eaposo soy. Doha Jwtna. Yo soy tuya. 

Quien vi6 cosas tan estranasi 

Senor, perdoname a mi. 

Si conmigo no se casa, 

no lo tiagas. 

Esso dudas) 
he aqui mi mano. 

Es6o basta. 
Aora dame loa bra^oa. 
Toma lo8 bra^oa, y el alma, 
y acabe aqui la Comcdia, 
puea estos excmplos bastan 
para que sirva mi espoao, 
para que assista en mi casa, 
porque me diga siempre mi rezelo 
donde no estd »u dueiio, ettd su diieto. 



La Nina de Plata. 

There are two comedias entitled La Ni-ha de Plata, both ascribed 
to Lope de Vega. The first has the sub-title Bl cortds Galan, and is 
published in Parte ix. of Lope's Comedias, Barcelona, 1618, fol. 103. 
The other play, with the title La Kina de Plata y Burla vengada, 
exists in Ms. in the British Museum (MSS. Eg. 547). Concerning it 
Mr Fitzmaurice-Kelly informed me (see Life of Lope de Vega,^, 210 n.) 
that this MS. is dated Montilla, January 29, 1613 ; also that it is not 
in Lope's handwriting, that it is not signed by him, that it differs 
altogether from Lope's printed comedia^, that it is (so far as he is 

' It may be convenient to state that lamenio, Don Diego, Fabio, Don Pedro, Laohoga, 
Doiia Glanca and Xarife are among the numeroua characters of La Niiia de Plata in 
H8S. Eg. 647. 



108 



fotes on some Comedos of Lope de Vega 



aware) uopubUshcd, and that it bears no rMcniblaoce to Lope's 
style. The comcdia as printed in Lope's Parte ix. is edited by 
MenSodez y Pelayo aod appears in Volume ix. of the Academy's 
edition. This volume is reviewed in the Zetttckrifi fUr romanische 
Philoloerie, Vol. 28 (1004). by Pr-.f. Restori, and this, like all other 
roviewH of the Academy's edition of Lope, written by that snhoUr, is 
of prime importance, both as regards precise knowledge of Lope'a 
theatre and the new critical matter adduced. Men^ndcz y Pelayo cites 
a "suelia" of La Nina rf« Plata of 1781 ; Reetori compares a 'suelta' 
printed in 1739, with the play as pnblishttd by Meni^ndei y Pelayo. and 
shows the many and very important variations from the original Parte IX, 
This is another example, if any were needed, of the importance of the 
'Hueltas' for the con.Htitutiati of n text, although these 'eueltas/as is 
well known, were generally forced inUi the regulation number of sheets 
and often mutilated in most borbaroiiK fashinn. 1 may add that 1 
poetseas the 'suelta' of this play dated 17Sl, 'en Valencia, en la Im- 
prenta dc Joseph y Thomas Orgs,' which seems, barring a few changes., 
to be identical with tliat uf 1739. The later wlition supplies the 
inissing verses in the copy of 1739 {8.g. on p. 114 of KeHtori's review): 

M(Mi»fre(not Arftu, u in ITSE^toxt): Ea hija 

dc uii Vciitiquatru. 
Arias. En ei pueblo 

tiene Mtimncirjn. Rty. MaestTA etc. 

On p, 1 21 of the Zeitackri/i, Dan Jwtn'a sprech reads : 

CalK nooio, que no entnj 
para xnidaa: ay Luitiido! 

la the same review, Rfstori rcfore to a copy of a very rare and 
Ukdent edition c»f Im Estreila. de Sevilla. which soenia to have been 
torn from a volume, as it is paged 99—120. This volume is not wholly 
unknown, as was supposed, but is mentioned by Saivi {Catdtoffo, 1. 
p. 648), who possessed a copy of the same fragment, iia well an a copy 
of La Paloma de ToUdj, paged 121— 140, showing that these two 
comcdios wore consecutive in the same volume, no other trace of which 
seems to exiat. 

Eh BitAisjL UEarrmiDo. 

The autograph of this comedia. si^ed by Lope at Madrid. October 
23, 1 625, is nnw in the Lenox Li bmry, New York. Mr Lenox 
bought it from Mr Obadiah Rich, then tJ.S. Consul at Valtincia, and 
Mr Rich pun'hascd it from I). Fernando dc la iSerna. In the Lenox 
Library is also u Irauacript made by Heuri Teriiaus-Compuus in 1833, 



H. A. BENNERT 109 

from Ihinin's copy. The latu^r is now in the Bibliotcc& Xocional, at 
Modrid. Tho plav has been i-eprinted in tb© Academy's edition of 
Lope dfi Vega, Vol Xili. 

The Ricb coltectioii uf Spanish Itsa. is now in the Lenox Librcuy, 
land amoQ); them a nutnbcr formerly owned by TerDaux-Compans. 

Tbe cast of £7 Brasit jR«ttituido, which 1 copied fnna the autograph, 
is i&toTMting, and is as fbtlows : 

Pertonas del P" Acto- 

DuOa Ouiuiiiar M* de Vitoria. 

Don Diego Cintor. 

Boniardi) Bcrnftrdiiio, 

Lauren^io AdUjoiij. 

Leonardo BubadiUa. 

El Coronel de Olanda Ariae, con bnrba FroD^esa, 

Alberto, au hiju Bl Spir Santo del Auto. 

El Gobemador .£1 Autor. 

Mtcbodo Pedro, 

El Braail Blariade Cordobu. 

Ptraonaa del 2" Acto. 

La Religion Catoliui Dorotea. 

El Bmsil La Autom. 

Don Manuel de Menenea muHiou. 

Don Fadrique de Toledo Ariiui. 

Leonardo Bubadilla. 

El Coronel electa Bernardino. 

Don E»ri<|ut' de Alagon Cintor. 

Don l>iego de Espinosa Antonio. 

Don Ptdru de Santistebjin Fr°° de rm. 

Dofta Ouioiuar M' de Vit'. 

D. Juan de Orellnda Mar ana. 

l« heregia M' de Vitoria. 

Va soldado El nifio. 

The 'autor' or manager of this^ company in 1625 was, in nil 
|Ht)babiUty. Andres de la Vega, one of the best known theatrical 
managers of the first half of the xvirtli cciiiun,-. His wife (in this 
'la Autora') Maria ile Cordoba (calKut Amar-iiis or La Gran 



110 Notes on some Comedias of Lope <k Vega 

Sfdtana^ woe one of the most fninoua actresses of her time. In the 
previous year the company of Andri'-n de la Vega represented nnc of the 
'autos' at the (Joqtus Christ! festival in Seviltf, and aUu tonk part in 
the festival given by the Duke of Medina Sidonia to Philip IV. in that 
ywu-. Both Aiidri's Jl- 1b Vt-ga and Maria du ConJobn wea- still acting 
in 1643. The latter was the daughter of Antoniti Martinez and Isabel 
du Ccirdobn, both of Madrid (iVrMMfox Ikitos, p. 223). Gabriel Ointnr was 
a celebrated 'galan.' who must have been at the height of bis fame in 
1625. Ue Visui in the rompnny of Hohaditla in 1638, reeeiving 20 Tt'oia 
per duy for acting uud 10 reals for uiaiuR-niince besides 50 dvicats for the 
Corpus Christi festival — then a large sum. In the following year he 
was one of the principal actors in the company of Juan Rodriguez 
de Antriagu (P6tkz Pastor, Niievos Dittos, p. 312). In 1640 he had a 
company of hi:^ own. He is imid to have died poor in the Cjk>nera] 
Hospital at Madrid. Luis Bernardo de Bobudilla, like most actora of 
note, afWrwards became an autor (theatrical manager), and had bin own 
company in 11137 and m3S. His wife was Maria de Victoria, also a 
celebrated actress. In 1024 and 163!) Hobadilla and Maria de Victoria 
wen; HKiiibers of the company of Antonio de Prado (A'uevo» Datoa, 
pp. 20f). 325). Daniian Arias de Pei\afiel. the first actor of his day, 
was in the company of Juan de Morales Medrann in the previous year 
(1624). He had a company uf his own in lt>31>, and we find him 
again in the company of Vallejo in 1643, in which year he is mid to 
have died at Arcos. 

' Domtea' is a very rare name amongst the actn-ssea of the xviith 
centurj- : 1 find only Don'tca de Sierni, wife of Juan Mazana, ' musico,' 
in the long list of P^ror, Pastor (Nuevos Dat09, pp. 247 and 328—329). 
She seems to have been an actress of considerable reputation in lCf36. 
She died before May ao, 1C42. Her husband may be the actor here 
taking the part of Don Manuel de Mencses. 

Bernardino is probably Bernardino Alvarez, who was in Balbin'a 
company in 1613. and in Prado's company in 1624. Antonio is ptrhaps 
Juan Antonio, in Prado's company in 1639 (Sanchez-Arjona, Analea 
del Teiibv #n SevUia, p. 326). 

Fr" de rro = probably Francisco de Rebles. an actor at least as early 
as ItiOy ; he was in the company of Pedro dc Valdez in 1623, and in 
that of Juan de Morales Medrano in 1624. 



H. A. Kexxert. 



'MEMORANDUMS OF THE IMMORTAL BEN.' 



Die im folgemien vertiSentlichteri ' Mcraomiulunis'' bulimicn sich 
auf dor freien Uiickeeite des let^tcn BlatU-s omen seit Kurzcm in 
mein^u Besitz UbvrgvguDgCDcn ExcnipUrs dur Quarto 1(174 ron Jonson's 
Catiline^. Leider bat, wie mao fius deui buigcgulxmeii Fiiksiinile 
eiseJin wird, cin vun Gott rcrlASscncr Binder a. a, am obcren Rande 
mmdesteoB eine Zoile wcggusehnittoii, waa iim «o inehr zii bcdauum 
ist, als dieselbc Auskiinft Uber die Herkiinti dieser wertvollen ' Memo- 
randums ' t-nthiiltcn habeii wird. 

Ich gebo nuQ zunachst den Text in Umachrift iind fiige vor ] die mir 
■wahrscheinlichen Ergiitaungt-n dcs linkun Kandcs bci. 

M«]in. I Iftid the plot at my Volponc, S wrote nioBt of It, after n praaeiit 

[df 10 dozen of 
)iiack, tttaa ittj very good lA T— r; lluit Play 1 ani [KHtitivc viU LiUit 

[to Posterity, & 
(8) yi whi-n I & envy are frieods. wiiU applause. 

Mo)m. The first Speech in ray(.^l*!ino, spokonby IScj'lla'a Ohtwf-, wnn writ 

' [ftfUr I ru»rf,f«l from 
my ] Boy* i*t lli« Devil-Tavcm; I hiwl drunk w*ll that mglit, vt nod bi-dv* 

[notions. There U one 
{0) aoc»]v ill thnt PUy which I think in flatj I rcvolv* to mix ■)■> uioru vr»t«r 

[wiili my wine; 

M]<>ni. r|>oii thn SOth of Mity, the King, Bmt»I) revxrd hEu Nent me 

[100 1. 1 we»t often to the 
De\ip ntKMit that time, ft wrote my Alchymist bu[ore] I had opent AD I. 

[<if it. 

(0) MJvui. At Chridtuaa my L* U-- toulc me with liiin into the 0»tiatry ; 

J [there wim groat plenty of ox- 
c«ll6u]t ctant-viac. A new uliurocter ofTered iU{uU'] to me then, upon whioli 
1 wrutv my Sili^nt Whduui. 
iiitf the fimt iwt to hiiu, 
["nrcring at tlio name time a 

* Den Rintrik^i, derim fnlsiTnile in der 1inki?n nnlerMl £eke auht, 1iaI>o ich niiberUek- 
•tahtlgt yeLuwn, da vi ni«hl idt^iittixcltii; KeitiOL'hc xa MJn wibeint niid aat iiN'riliiix tiichU 
yeaesbiftM. Der "rmn»Ului of BbilMn'* Lutiia ' war K.Eowe. 170S. fcli bin ilbrigeiu 
nkthl ettiia*l gtui% MutiM, duo beide EintraKC ion deraelbeu tinoi ■lunnipn. 

* Ttct Teat dicaer Qeart<> int iin WcHmtliobrn der iiaa bekunalo. ZntielTiKt let: 
* A ProkgiM Te L'atUin<, To be marrilj apoke bjr Un 2<eU [Uw^nue], id an A nuttonian 
bebil * Miwio ' Tbo Kpilo^taq Uj the Haw.' 



W. BASQ 



US 



(19) fcoodqiuintity of thfi wiB«iO'ba«eiit ta 
i LoDdoii witb um wbeii 1 wvQt^ h it Utatcd 
\mt till my work wan tiniaheii. 

(15) [Mem. The Talc nf a Tub, t)i4 L>ovil is an 

Amc, & sonio other of low Cora*dy, were written 
hy poor B«o Johuaoo. I r«in<tiDber, that 1 did 

(18) ' not succeed iu nay oue coniiHwition ia a 

wbolo winUri it wiu tb&b wintur bonwt Hitlf 
tLu Drawn- dieil, & when I & ny Bayn ilru-iik 
bful wine at tlic IJevU. 

Uoino mud lima nf the IramortM UEN. 

Da dicsc Eiutrajfu nichts unthaltcn, was mit den wciligen ud8 
bekanoten Tateachen aue Ben Jonsona Leben (ca. 1604— ca. 1611) nicht 
in EinUong KtUndc, so wird an ihrer Echthcit nicht zu EwcifelD scin. 
Woil nun femer in Z, 7 ganz genau (his Datum, an wolchem der Konig 
B(!n X10() snndte, als der ^0. Mai bezeichnet wini, so schcincn diesc 
Eintrii^ Jodeiifalls auf i-ij^cnhHiidigtu Nutizen JuneuDt» zu btTuhen. 
Man kdnntc nllonfalls noch nnnohmon.dass sic nuf sofort beini KrzAhlon 
ui«!«rp;jiclirifiheiie Aufeoichtiiingen fines Vt'rehrera des Dichtere zu- 
rUfkgi^hen (vergl. 'I remember" in Z. 17), doch hftttc Hicser Verehrer 
keinorlei Grund gehabt, die beitlc-n Namen L** T — r in Z. 2 tmd L'' B — 
in 7* 9, die ihm boi dieser Annahme vorgcsprochen worden waren, 
nicht vull auRztischreibRn. 

Auf Orund den beigegebenen FakHimitet) wird es vi(>lleicht ni<5gh'oh 
Min, don Xamen doe wackorcn Mnnnes aiisfinilig zu mnchon. dcm wir 
die Erh«ltuog dtfr Nutizen in meiuur Qiiartu 1674 vt-rdanken ; seine 
Schrift schfint auf den Ausgnng des 17. odor Anfang des 18. Jahrhun- 
dert« hiozudi^utvti. 

Die voUistandige Aiisbeutung nnd Vorwortnng dieser EintrSge ist 
mir hier leidt-r vomigt, da mir die iiotigeii Hilfsinittel fehU'n. Ich 
boffe, dasH ein Englisoher Koltegt' bald nRchholt was ich vers&umea 

Im Rinzclncn knnn ich boinerken: Z. 1 — 2: lies: dozen (bottles) of 
&»(?) Z. 2 : L'' T — r ist wol Lord Treasurer zu lesen. Ea wUrde sich 
um Thomas SackviMe, Earl of Dorset und Baron Buckhuret {Z)JV".B,), 
bandehi, der die9t»< huhe Amt bia zu Heinem Tode (19. April 1608) 
bekleidete. Z. 7 : 20. May i>. 1610. Diei^s Datum wUrde die Theorie 
Fleay'i iui OpoMtcn und Ganzen bfaUtigtin. Z. 8 : Zur Ehri- Hen'a 
woiltn wir annehmen, dass cr auch ' books or bread ' {Underwoods, xcv) 
kuuflel Z. 0: Ba ki&nie darauf an. unwr der uicht getade gnwjKjQ 
Anzahl vou EdelU;ut«n, die der Abklirziing L'' B — entnprechen kOnnen. 
donjenigen ausfindig zu rnachen. der nuch alter, guUiT. abcr im Ver- 
•chwioden begriffencr SitlP Weihnachten 1609 auf seinem Land^itz 



114 



lemorananms ot 



rmmortal Ben 



xubrachte and dann uoter deeeeu Eokaonun den 'new chnrftctcr' zu 
ermittuln. Es vrird aich uni Sir John Daw und eher noch iini Sir 
Anooroua La-Foole handeln. den. L'' B — nach der LektUrc too Act t 
leichttrkannthabcnrauss. 2.15—17: DieWorte' The Tale.. .Joboson' 
bind voin Scbrciber als eine Art Illustrntion zu Ben's Eintrag vor- 
gottulEt wordcn ; wir wliMen etwa gesagt haben : ' Ben wird an Tale ol 
a Tub uiid Devil is aa Ass gedacht babon.' Die 'IIIu»tmtti>n ' iitt ftir 
utui von koinotn Bolnng, Da »ber die Lage der Devil Tavern bekannt 
Ut iind ■ honijst Ralf ' im Devil selbuc gestorben scin kann, so -wtlrde e« 
aicli dor Miihe vfriohnen, die botr Kirch en bUcbpr nach Ralfs Todealag 
zu durchaiichcti, tim nuf dieae WeiHe den Winter zu fixieron, in dem 
poor Ben schlcchten Wein zu trinken bekam iind in Folge deaseq 
Nichtti vor sich bracbte. 

Mr Percy Sinipeon, dein ich ate Uborzeugtoiu 'Jonsoman* einen 
Abs!Ug do8 Ftiksirailcs znsandte, hatte die GUte, inir die folgenden werl- 
volten Anmerkungen xu senden : 

I, See David Hughaon [a pseiidoiijin of Edward Pugb], London ; 
beiiiii UH accurate history and description of the British Meiropolis 
and its Neighbourhood to thirty mitee en^teiit. From an actual Peram- 
bulatim, (J vt>U. 1806— 1809. 

In Ynl. TV. p. 4(1 (piibl. 1807) Hughson quotes in reference to the 
Devil Tavern and Ben's connexion with it ' some of this comic writer's 
meniomnda' fn:mi 'an nnljent manuscript presen'ed at Didwich 
college ' ' ; 

' it«m. I Iftid tho \Ae>% of my Vatpont, and vmlt tooat «f it after A prueot of 
ben lifvuisi of Palm Snei, from my very goud lurJ T — ; that pUv, I am paaJdv«, will 
liMt to poKtoritv, niid li« iu.'tud viAi^a /and Jinpy he frt'iitniU, itith applause,' 

' -V(W. The first ajtcocb in my Catdiuf, K|iAlc«n hv SfifUd* ghost, waa writ after 
i piiritd tcilk mt/friencU a[ tli& Devil Tavern ; I had ^rank well that night, *nd luui 
brave Dotione. ' Th«re ia one soene in that play whiiih I tliink in tiKt / rcMlvt tc 
drini: »" mor-r wiUr leilA my wnt. 

*M<m. Unan thr^aOth of Mny^ th« king, (H«aveu reward bim) twnitiuenbuudrad 
poiiiuli'- At Oi'it lime J ittfHl fiftfjitiia^s (c M< Ihvil j and Wfote 1 bnd tipeut f<>rly of 
it, wrot* my Ai^Hrumr. 

* Mem. My lord B U>ok me with hini iuto tbccountn'; tkcro wns neat uknty 
of e\c«ll*nt t.'uniiry. A new (.'hjirafter t)fiore<l Itoelf to niu hvrt ; ujion wnicb fwrot* 
my t^iLEST WomaV ; my lord wua highly delated ; i»iii upon my rNLding the 6nt 
ACt to him, niiidc luc a noblo profwnt ; ordeilDg, at th« tuine titue, a ypuA (puitiou) 
of thu witic to he Hcni '^ith mo to London. 

' It litntmi me until lay work wms finiehed. 

^ Da dieBM * uil(«Bl nmnilwript ' woJcr von Collisr iu Miiien Menwin of li<tw. Atltgn 
(8h. Soc. 1^11). iiooli vou Warurr iti witiitin CaiaUfgue «/ tht ilnmitfr. und Mrm. of 
AlUjin't Colt, itf God'i Gift at Diilwicli (irtrtthnl winl. to Ist ea bis mat W'tiiUsnm «mhr> 
Bchcmlidi, dwn ea wio ao manabcii uiilcro frillier lin Besiu vou DiU. CoU. bafindliofa* 
Stltek v«rkinni cegoagco ist. 



L 



W. BANO 



115 



*Mttn. Th« DtnLL IS A^ Ahse, bbc Tale or a Tun, and somo otha onnadi« 
which did uot suoocod, hy luc in the wint«r hoomt Ralph di<^ ; uAtn J and mg fieyi 
cf rani: bad wina at the Des^.' 

H. 'Honest Ralph' has a cliamiing coinmemoratioi) eWwhen!. 
Anliivy in his biographicnl note* and jottings (Aubrey Ms. 8, 55 of the 
Bodleian) ban the following: 

'A Qtkoo of £«h: John/on. oztemporr. 1>«roro Kiug J&mtt. 
Our Kiiig And Queen tttu Ix>rd-(>od Hetou, 
Tb« Pnluvravc, and tba Ltuly Bufee, 
And Oodlilcfse evorj' liriii); tluci^, 
Tb»t Uroa, and brealli>, aud loi-ca the Xing. 
God bleba th« Cuiinccll of Entntc, 
And Budcindiaiu the fortuiiaM;. 
6i>d bl'cfito th«m nil, und kooMi thetu Tikfc ; 
AihI God blcliwi mn, nnd Ood bldfaa Rh{i1i. 

' The K. wofi mighty enqutiritivo tu know who thiB Raph was: Ben told 
hint twM tht' Dmwop at the Swanne tnvpmo by Choi-ing-crosse who 
drew him good Ciuiarie. for this drollery hia Matie gavti him an 
hundred ]}oundes.' 

George Powell the actor oonfirmB this atory in ' The Epistle Dedi- 
catory to the PatenloL's, and Sharers of their Majoaciii'^ Theatre ' prefixed 
to The Treacherous liri^therg, 16&0, frig. A 2 verso : ' The time has been 
when as old Hen ended his Grace with God blefo me, and God blefs 
Katph, vis. the honoft- Drawer that drew him good Sack. So fome 
Motlem Authors with the fiiniH E<]uity, might full as Pathetically hare 
fumi/h'd out one Article of ihoir Prayers, (not forgetting the preient 
Props of the Stage) with God blefs Mohiin, and God blefs Hart, the 
good Actors that gut «m their good third Days, and confequently more 
fubdantiftl Patrons then the groatoft gay Names, in the Frontifpioco of 
thu proudel^ Dedication.' 

Da dor Plalsgraf ( Fricdrich V. ; kam zum ersten Male naeh England 
im Okt. 1612), Lady Besse (Prinzetwiu Elizabeth : lieiratete den Pfalz- 
grafen 14. Febr 1613), nnd Buckingham (Geo. Villiers, first Duke of B.) 
in dieMim Gedicht xuKumineu genaunt vrenlen- — nach D.N.B. wnrde 
Buckingham erst im Jahrp 10)4 bei Hofo vorgestelit — so ist va 
□nmoglich, die in 1. 7 genannten XlOO mil den von Aubrey erwahnten 
zu idouti&dervn. Desto bessor fUr poor Ben. 

W. Baso. 



ON THE INTERPRETATION OF 'PAREGLIC 
IN DANTK. 



P»r«h' io la veg^o n«t rvnux apef^ia 
Cb(^ fA dj aft pareelio &1I' &ltre ewe, 
K nullA fftC9 loi (U b6 parvglio. 

Paradim xxvi. 106 — lOfl. 

C0K8IOERABLE difforoDCb of upiiiion hns prevajtcd fts to the exact 
meaning nnd constnictidn of the wordii in thi.i [laoBage. The genentJ 
sense of the paoKuge \* clear. Dante desires to put certain questions to 
the soul nf the first man. Adam sa^i* that the pi)et need not inform 
him of his wish. The spirit of Adam hua already seen it depicted in 
the mirror which reflects all things, namely God. Yet although God is 
the mirror of all things, it is He who iuake.t them like Himael/, Dot 
they who fashion Him in their own image. Lines 107. 108 appear to be 
characteriBiically intended to giianl against any derogatory notion of 
the divine nature which might be conveyed by the use of the word 
tpeglio. God has made all things in His own likeness j He is not 
moulded in thtir likeness by receiWng imprfsaions from tlicm. 

Two of the earliest and Wst commentaries, both of the fourteenth 
century, which adopt diflLTt-ut readings of Hul' 107. explain the meaning 
of the passage in similar terms. Benvenuto da Imola, who reads ehe/a 
di tii pa-r^lie I' attre cose. writLis 'Quia Dcu.s oumla cumprehe ndi I et 
continet in se, et non e convcrso; undii dicit e ntt^/a (scilicet res) ,/aoe 
ltd paregtio dini, id i'«t el nil coraprchundit et continet eum.quiu nulla 
res est in quo appareat totus Deufi tAnquam in spccnlo, aed bene omnia 
apparent in apeculo Dei'; aud the Ottimo Commcuto, reading ^rv^fo 
alt' allTe cose, adds'... Dio il quale fa dise a I'alire cose pareglio, cioe eke 
tutbo comprcnde. e nulla puote lui compn-udcrc. La pupilla si & 
pareglio della coea veduUv in quaato quella specie risiva. che entro vi 
si multiplico, c colorata Ggumta al modo d' csaa cosa veduta; cosl in 
Dio si vede tutto, e per6 in qaanto il si vede, cllo si pareglia a quolla 
cosachcin lui si rcdc.c perodicc/nrfi «e pareglio a t aitre cose,e nulla 



I 
I 




W. W. .TArK90N 



117 



lui di A^ pareglio.' Btit althougii tho general vpne& of the- [luwtagc 
18 ciuAr. doiibL fkri»i.« as La the exact meaning of pareglio, or pareglie 
(according to the reading adoptrd), It has bt^en takon as eqiiivalrnt to, 
or derived irom. parecchio. 'like'; it hu» uIbo been taken «a a iiietu- 
phorical t«rai = Ok irap^Xto^, a ' mock sno ' (j.e. a figure of the sun on 
the olge of a aolar halo), and heiic* generally ' cojiy.' ' likeaesa." A large 
number, if not the majority, of modem commentatora adopt the latter 
usiilauntion. The preseiit essay is inl«uded t» review the evidence, 
and to show that there is little or no justification for this intenmrtalinn. 
Firet, a» to the idciitificatiou of paretfUo with parecchio whether 
used here as an afJjective or as a substantiT?. 

Nanmicci ( Voci e tocuziuni lUUimie deriv. datla Htfff>Ki Prov. p. 52) 

• poiutfi out thiit jtartglxo if used us an adjective, equivalent to Fr. pareii, 
wouW bo quite regular in formation. The Provencal parelh would 
bucomc cither parecchio or pareglio ; as velh— vecdivo or viglio ; espeUt 
= 9peechio or speglio ; aurelk = oreccftia, or oreglia, Nannucci cites 
three examples of pareglio (adj.) in the sense of parecchio fi-om early 
soDoet writers. If pareglio is here used as a sub^t&ntife derived from 
tho same rrtot, ho shown that it may be compared with pariglia =ft pair 
(of numbers on dice), and with the Prov. parelk = a couple, so that 
Dante would not have introduced any otarbliug novelty by using 
pareglio in the sense of copy, likeness. The rarer fonn rpeglio would 
nrtlumlly have suggested the nirer form pareglio. 

Seocmdly, as to the identifiration «»f jyireglio with parelion. There 
can be no doubt that Dante would have been familiar with the word 
paretion, tho JjitiniKc^I form of the Gk 7ra/>*jXi<« or •rrapijx.ov. It 
ooeuts in Seneca, Q. N. i. c. 11, a book with which Dante may have been 
acquainted!. (See Or Moore, Studies in Dante, First Serie-s, p 2«9.) It 
also occurs sevonil times in the Latin Translationn of the DeMeteoris of 
Aristotle, a work with which Dante was fiimiliar whether in tho Nuova 
or in the Veccfiiu Traslasiune (see Con-v. n. c 15)'. But the word is 
there used only in it« literal, astronomical sense. Of a metaphorical 

'eeose of parelion, Ducaiige- gives iwu interesting examples from eiirly 
medieval sourcea, one from the Vita Snncti Wunelialdi (*Sacer itle atqne 
[lerfectuB Barilion ') and anuther fmiii the Itinvrarium Santii WilUbaldi 
(• Ille b«atas Parilion Willibaldiis'), two documents which are believed 
to have been composed by the aaine hand in the eighth century. In 

'> Tir« tntiwlfttioiit rtyltA tuma &n4 untinnit ftK iuoliid«cl in tlia Urg* •dilion of lh« 
work* of IqaioM in 12 vols. fol. ptintod &t Put* In liJIfi &nd aubwqnent n&n. Dfent«'a 
.Vnnnj Tntilatiimr. ■ppeftrs to ooriettpOQtl «ilb Ihc Jntfgud Ttantlatio at that cditloo (see 
Dt Hour*, fitudin i. p. 818|. 



M. t. M. 



8 



118 On the Interpt'etation of ' Pctreglio' in Dct/fOe 

Itoth poaauges th« word refers to the ima^ of Christ, the Sun of 
RighteousnosH, rtiHuctixJ in the vhiuBctcr of His followeis, Thcru m wa 
|iroof that the word was cun-eat, evtu iii tblfi seoeic, in the age of OaDt«, 
still lew that it had been wlopted generally in the Hea»e of * image ' or 
'reflection.' Parelion does not appear to occur In the original n-ritiogs 
of Aib«rtus Magnus or Aquinas. If Dante hod b«cii turning on a«tro- 
Domical term to n metaphoi-ical use unkooim to his contemporaries, it 
iK«m« reasonable to suppose that he would have made this procedure 
more intelligible to his readers. Would not Danie, with hi» fondnoss 
for astronomical siniile», have seised the opportunity for introducing a 
simile here which would have made his meaning clear? 

Something must be said as to the exegesis of the jwissftge. which 
will vary with the reading adopttwl. Line 107 is found iu the Mt«. in 
three different forms : 



Chn fit di «b -{pKregii 



/psnglie V 



ultra nme. 



Thn fintt two readings have the great prepimduranm* of support. 
Scartamni gives a rA^ww^of the authority for each, whioh appears to 
be almost etpial. if paretfJie = ptirecdiw, the fimt reiuling bears an 
obviouB seiu* 'which' (vh. tpegtio = Dio) 'makes all other things like 
itself.' The other two variants are most easily occouDtcd for on the 
supitositioii that this (which is supported by the authority both of 
BoDvenuto d« Imoln, and of several of the best commentators prior 
to the end of the sixlei-nlh century) was the original reading. This 
reoiling requires di "^ to be lalcen with ■purfirfUe, i\ construction which is 
strongly supported by line 108, • E nulla face lui di s^ pareglio." Di ti 
is here most, natunilly construed with parefftio. Lui would be, as most 
frBf|u«ntly, an emphatic objective case. But the preposition rfi is very 
often cnnstnictefl with fare. (See among many other instances Purff. 
xix, 42. Par. v'l. 132, xsi, 17.) A scribe whu ho constnie<l the wor^is 
here would naturally introduce a, the more usual preposition, after 
pareijUe, whirh would then necessfirily be changed t.o the siiigular, and 
taken iw a substantive. Another .scribe who undrratmid the con.Htniction 
of di «i, would then omit the preposition after pareglio, still leaving the 
woni UH 11 siibaULntive, Mnny r>f the modi-m roinmentatnrs who take 
pareglio ~parelion,ti.nA refer it to the image of things rtiflected on God, 
fail to obsurvo that this rendering greatly incrcaaee the embarraasment 
which Dante is here removing, \is. the apparent subordination uf the 
Deity t(i naburu when Hu is cuiiijmred with a mimir. FraticelH in- 
geniously amids thia by constructing fa with tdt alti'e oose, and di gi 



W. W. JACKSON 



119 



with pitrtifitio, 'Ood makes an image of Himswlf upon other things, but 
o!ii«x things do not make their image upon Him.' There arc ubjcctioDB 
to tiiis rpnilnring Itoth im gmunilH of construction anH of iKinnp. Aa to 
the latter. D«nte. as wt- slmll we below, doea not mean to deny the 
rwjIUcticn of thinga in God which this translation would do. The com- 
poriMiu of ihi: divim- mind to o mirror wud familiar to students of 
Aquinaa. Dante means to deny (as will shortly be seen) that created 
thin^ have any power of ]>r[idiicing u likeneMi iictwefn ihemw-'lvt-s and 
Qod. This requirtvt us to take pnregtio in the mor« general senne of 
panxchio. He KoUm that Gotl makcai thinga like Hinisi^lf, and that this 
is the rt^a^n why lht:y can be seen mirrore^l in Hlni aa their cause. 
Although the first of the readingn di.scu8(scd ubovo convc}ii the required 
sense most easily, it ii equally given by the second reading, if (with 
Kaoniicci) we refer ^xinglio in it« use as a substantive to partvdiio. 
Witt«, who \a preeoiinent among modern Dant« scholars, white reading 
parttflio att' aUrt cote, decisively rejects the identification with parelion, 
tmulating — 

Dcr alio Diusc taacht nwb MitieiiQ Bildo 
ludtBB k«in liiai xu aeinctu Dild Jhu isMbt. 




Besides critical ami cxegetical reasons there are two arguments 
the idcntificntion of pareglio with parelion, which have not 
hitherto recvived sufticient attention, but appear to me conclusive 
■gaittM. the usiuti inteq>n'tation. Thorc is not a tnioo of this int<:'rpr«- 
taiiijo in any of the ^y^rlior commentators down to the edition of the 
Commeilia published by the Accnd^mia della Crusca in 15B5. In the 
nuuffinal note appended to the word partr^lvt in that edition (quoted 
by Scartjiazini in tvc.) it io for the fintt time identified with pai-eiion. 
This gt»M< is allerwards cited in the Dictionary of the Academy- Buti 
(^ 1406) is quotod by the Aeatlcmiciaus, and alou b}- Lubin and other 
modt^m cnmmentntors, in anp]jortof this Ihoon,'. But if any one will refer 
to Buti (in the uditiuu of hi^ commentary printed at Pisa, lKt[2) he will 
t«« that his authority is on the other side. It is true that the use of 
p • - n MibsLanlivL' ^avp some trouble to those early commentators 

y-i - iLi- K|K-ci:il attention on the word. The comnieutarj" of Buti, 

who reads pareglio, gives support to the relationship of the won) with 
partixfiio. At ihe same time he writes ' E iitiila yitos tui, ciu* Iddio, 
partlti'n. doA recettaoolo, rfi rf.' Similarly if we refer to the marginal 
oumtneot on the ancient KS, of Itfontv Cassitu) which reads piuegtio 
<pnnl«d nt 3i1onte Casalno in 1865 and qnuted by Scnrtiuaini) he will 
find that thift annntntor first traces ixtreglio to parecchio {' pat'^lio id 

8—2 




'ttr*g(i«' 



*« 



IT 



tfd 



rrr^^ 




,ooc» 



f«\e 



part' 



d\cW 



ftWe ^ 



fthftV* 















al\ e\t^^' '^',:.rec.f'*°- 




,*rf[''"" 



HI 



^^::::^--^i:^^^ 



nu'^"^^:?:;.ngi"- 



,nuvtv.«f^^;;y^t.< 



fact 






(,tf.bv 



. i»' 



.A^»^'" :".:,.n ^^^^s"* ... .,o d'>^*^';^":;^tig«'«^ ^tToJ^'^^^*'' 












,.».^ --^ '^" 












ft strong ^^^ 


















,<d»n 






















^..^•^ ^^:':;^ * ^ 



^^S'^^^"^' 



^^^sruW'-^ 



q-^^^T^t.*?^-^^'''' 



v^^-'^'ti*^^^''* 



fttttt* 




W. VV. JACKSON 



121 



iocftrhange in the application of the teniis 'sitnilis ' and 'siinililudo' tu 
God, find to man. OixJ ia said to know all things, even inHi^idIllll objects 
and nocum'tices, becaufet- in a sense He in lik« them. Ai(. Summa I. Q. 
Irii. J: ' Dt'iiB per ewsentiam MUain jK;r qiuin omnin raiisat e»i siniiliiudo 
nmniuni. el per earn omnia cogDcacit, uon soluu (|uaatuut ad natumin 
iiniviTsalpm. swl ptinni sectmdiiin ejinini singiilaritatt-ni.' Here and 
tWw Iiert' Atjuiuatt i-splnins this likeneiui an due to the cuiiKiitive power 
of (iod. Svmma I. Q. xiv. 11:' Cum enim sciat alia n ae per e»8enlinm 
siiniu. in ijiiHtitum eat Himilitiidu rt^niin v^liit principiiiin activiiui imrun].' 
Bijl in the conception of likeness, ns in the simile of the luinxir. there is 
anochtrr point of view. The creature is like Qod, bocaune of its depend- 
mre ft\ Him as it>i cause. In this reKpect the likeness is found only in 
the cnaiture. Afj. Summa I. Q. iv. 3: 'Licet aliquo modn cnncedatur 
<ju<vi rreatuta sit siiailis Deo, imllo tiiiLien modo conccdendum est quod 
Deus ait tiiinitis ctx'atiUTe; quia, ub dicit [Honv'siii.s. in his qtia* unius 
aniinis sunt, recipitur mutiia siniilibudo; nun auteiu incuiisuei caiisutu. 
Uiciinus enim quod inmgo est similis hoiutui, aed non e couverso. Et 
simiUt*^ dici ]N)tcitt quod atiquo modo cruatura sit similtM Deo, non tameii 
qwoil DeiiA sit iiimitis creaturae,' Dante is here insisting on that half of 
tjic tnith sit lorth by Aqiiinna in the Summa f. Q. xii. 8. and Q. iv, 3. 
It it At least pnbable that this lulter passage was present to his mind 
rhrn be wmUi thiae lities nf the Paraditio. They are almost an ejutcl 
lu^lntit>n of it. In uuy caeie uo wonl would have expfesaed his meanlog 
and that tif AipiinHs ao well ns paregtio used as equivalent to parecchio. 
The argument m favour of this interprctation is cumulative, and 
appears t« mc convincing. If the reading pareglie t' altre com be 
accepted, uo other iutcrjirctatiim would be poaeiblu ; but even with one 
of the other rt<ading» it ifl (ar more probable that lMnt« would have 
given a sUj^lit uxleuston to the meaning of a aubstimtiv« panifUo 
derived fr-^in the mljective = ' like,' than that ho would have employt^ 
an untrvtMimical Cunu in b new Kenaa unknown to bis eontcmpomnes, 
luid that no tneiuorj or tradition of thi^ u^ge of the irord should have 
•urvive<l. Tbo exact coincidence betwe^^u Dante and Aquinas, mip- 
po«ing that parc'/liv = pareccUio, in (K-rhapd the etivngest argument 
<.f aU. 

W. W, Jacksos. 



NOTES ON 'THE DEVIL'S CHARTER* 
BY BAHNABE BARNES*. 



803: 



I. 

Mnllkv iierfcimit' thy wornt leARt coininiiig Ule, 

I with AiiticijMUon oniMto that fiiCe. R«aJ it, toot man. 



I bolii^ve • toot' »t*nd» for 'to't,* i.e. 'to it/ and not 'tut,' na Dxplaiued in 
iht! iiulu. Cp. Hamlet, v, 1 . 5C : Turning vj tlie Slireuf, i. 2. 1 95 ; OthtUo, 
iii, I, 17. [Prof. Moore Smith alsn suggests this interpretation. Ed.] 

ISIO: Viiilor the King of HmnainM I whm cut, 

lust rn>m thJH Hliiiiild<.>r to th« v«rj' iwppv: 
And }i>t bv [urtiiiiw iiT thu wnrro am D«cr«^ 
I tlutiilra (Jud, Mid tay SarKiaii, «11 fix, liillilt. 

' Fix," I belipvo to ht* of Diitch origin. It should be bome in mind that 
fJio H|K.<nkvr is Frcscobfitdi. n merceiiftrj' who h»» fought in many wani. 
In the Elizftbelhnn limnui Dutch wimls are very common, especially in 
the nioulbf* of soldiers who might be expected to have pickorl them 
up in the Low Countries. ] lony mention the following c>xam])les: 
'Hkellum* <I)ekker, 7'A<; S/ioemfdcer's Jfolidity. iii. 1): ' tatinikin ' (I'i.); 
' skiak * (Jonsoii, Barikol-ometti Fair, ii, 1) ; ' up.see J>iitch ' ^.louaon. The 
A tcfiewiiit, iv, 4) ; ' mnnnikin ' (Jodsoq. Epic^tetie. i. I ) ; ' frolick ' (Jonron. 
Hvrry M»tH out of his Humour, ii, 1); 'Hefhebber.' ' linstock.' ' lighter 
(cp. JiM.D. iei.). In sevcml plays whole sentences Jire Dutch ie.ff. The 
S/ioenmker'a Holiday), which shows the constant and eli">8e intercourse 
there whh nt thnt time between thu two countriirs. The Dutch udjuctive 
'fiksch,' adverb 'fika' (old npelling. 'fix'), is used in various nenses: 
' good,' ' thorough.' ' Insty,' ' hodthy ' (with the torivjiponding adverbs) ; 
' ik ben niet erg fiki*ch ' is common in cnlliHjuinI Dutch fur ' 1 don't fuel 
vory woll.' This iiienniiig exactly suite the context both here and in 
line 2()79, where tho word secure again. For exiunpl«» of ' fix ' in Dutch 

I Tht lirriVt Vhnrlfr by Boniftb* Bara«« nlit^ from the Quarto o( IC07 by 
R. It. McKniTnw \ilatrrialirH lur Kimdr J/i Altettu fngtitehrn Uratiuu, hflnoagegebea 
Ton W. Biuig, Td. «i), Lonvftio. 1904. 



A. R. H. aWAEN 



123 



writers at ihe begioninguf the »evtinto(*Dtli centiir)', sec StAn«r's Frieacke 

LutOmf, edited by Vnn Yloten. pp. H6, 412 ('elck hwft syn tiiyghje ficx,' 

•kck hou al luyu tuyghje reyn. fix en vaertiigh'). Cp Gerniao 'fix,' 

mmiing ' ready,' ' quick,' * active," ' prompt." " siimrt." 

'IVillill ' (1. 13L9) [ eitppom* Ui be from the refrain of an old drinking- 

sg or bve-Bong. Cp. 

Hogyii cs.m to bowera dore, 
Uogyn (»tD to tmWDTB (tor& 
Ho Iryld vpon re pTu for wv% 

AiMi, ;(a, trill i)n mIU 
H« trjrlil vjiun jr^ \>vt\ for lova|| 

j&Mni, Ao, trUl ffo letl. (jHfftOt, nxvi, 273.) 

Cp. i^* ' ^vrU- tiriow '(lA. 287); 'troul loly loly '(Btwirnonl and Fletcher, 
The Knight of the iiurning PeaUe/\y,b; Walton. TheVompieat Angler, v). 

I34S: Fr«*eabaUii...Pttr I iiw;? pnirjw^ CMlcb him in s gilder my a«Ifo before 
you nr« AVitrc ; *nil moyltt: niiilitt %'p hit iiiAiDbirBhip, with tho fforoila, or 
ttiitlto, etc. 

' moylic ' I recogmse auother Dutch word. The meaning is evidently 
' neatly,' 'nicely,' in a aarca-Hic sense, which the Dutch 'mooi' or ' mooit- 
joa ' (■ fine,' ' nic«.' * pretty ') often ha.-f. 

t3H(> : BoiMm I WM tli« (irHt thnt rroni the Atfijur qiuirUr, in the rugnv of king 
Frrdin^md bmuf^it vp iik hjx Army tlio ftMhiona of boming uid towiiog GreaJre 
ftitd SfauM winea by the Aagon.' 

I agree with the e<lit»r that 'bowsing and towsing' means little else 
ihan what in exprvHsuil by the finst word, viz. 'drinking.' 'bouzing.' 

• Bowse ' is the Dutch ' buiiscn ' (see N.B.U. i.v. ' bouw *). Verj- probably 
the Reomd wnrd in the Dutch ' bui»chen,' ' Oo gamble.' ' cheat at games.' 
Th« woida must often have been used togtlhcr and may have been 
token for synonyms. Cp. Engl, 'kith and kin ' (N.B.D. i.v. ' kith.' 5), 

IMS : And if [ tye, mil me thy WimUo-cock. 

Somo light may be thraim ii^ion this wurd by the entries ' wimble/ 
'irimplo,' 'wiiuile' in the Diaiect Diciiowirjf. To 'wimble' lueutia to 
enter in a sinuous manner, to turn ruund nud round. The adjective 

* wimble ' mi-ona ipiick, lively, nimble; loose, easily moved. The Diction- 
ary quotcfl ' He was so wimble and so wight ' from Speoser'ti SKepherxl't 
Cateadar. Uarch. 91. To 'wimple' means to squirm, wriggle, wnchc; 
to toll an indirect and intricate story, especially with intent to deceire. 
An obsulcttf hvum: of the substantive 'wimple' is an intricaU' turn, a 
wik'. ft piece of ciaft To 'wiiidle' is tu«ed in the sense of to whirl 
mand id tho air; of enow, to drift. 'Wimble-cuck' might very well 

' an unreliable fellow,' ' a story-teller,' considering that simioiis or 
taouR movement appeatB to b« the fundataeotal meaning of all tho 



124 



Totes on The DeviCs Cfmrter 



words <|uaLed. * WiinblQ-cock ' may bo due to nnalng)- u-ith 'weather- 
cock' (with which inil(>(>d in its original ustj it was probably aynuDymous). 

IS88: I oci' liioii keuiiiat thn acurotn of &1I aorta, 

Of sliiirim Biriiigiice and auJndoUB apurts : 
Vonorall Hiiboco. Tuliera Vlocroiid, 
And lanna D« Jhticandvrt vcuvmoUK. 

For 'sirinjjaes' I wouM refer to " glister pipf ' in lino 1339. ' Fisli- 
rainrkeFB' I htilil to he a plaj*fiil forumliuii after thi> tj'pa of " fiaticiiflFs," 
from 'fiat,' a foul smell, stink, and 'cAackop,' cancor, chancre, a vonei 
disease. The wh*iln is tniwl« into a fancifnl projier nani4> by prefixing 

' lonnes (i.e. Johaimes) dti.' 

A. E. H. SWAEN. 



u 

3S1 : In 7^«ttiny within th« Kiii«r Nam. 

The river Nera wan anciently chilled Nar. 

443 ; Tifl well mtiI CiKtar, jjet attend « little, 

Aad biudc tbom liko rich farouolcta on tJiiac htibw 
Or u « prccioiM icwclL Kt tbino can. 

This may have bevn suggoated by Deut. vi. 8; xi, 18. 

446 : Su(>piMie twi.> ftictiftua Priiicw both thy frieiiil» 

Aiul>itiuit3 liutb, mid butlt i.-onipvtitvn), 
Adumicu in U<>«tUo armet ib|;tuiu)t tuw^ii uttier 
loyiic wilb tbo etroiigoat tu confauud tbo w«ako 
But lot yom- wnrs fauiidntion touch his Crowiio. 
Vour nuorant Charity goqc<m'iid6 y»ur Mlfo ; 
£ln L*t liiiii puriali ; yni ncviu« chftrit^le. 

I agTi'O with tbo uditur iu thinking that ' lot' (lini- 450) cannot monn 
' prevent,' but I take ' his Crowne' \*i refer to the wiaker of the two 
PrinccB. I interpret: 'But when the war is so successful that the 
crown of the iiiau you oppose is in danger, then you must consider what 
is to your own intere-tt. Apart from that, you may let him perish.' 
' Your war's foundntion ' is I suppose, ' the war yon have set on fo<it.' 
Aiiuiher possible interju-ptnlion is to taku " his crown ' iis ' il« crown,' »".«. 
' when your war, thus sturtod, has reached its crowning Riiceej«.' How- 
ever that does not seem to af^ree with ' RU let him periab.' 
li!l!7 : It 13 »o violeut it wilJ uot Uat, 

A reference to the proverb. ' Violenfeum non est diutumHin' (Walter, 

6notiiolo(/ia). Cp. Shakespfiire. Luorece, 804: 'Thy violent vanities 

can never last.' 

14&4: Admit Im forc« nitt with hii* ninbroccAdu 

Here I decwiue then, willi this jpfissado 
And come vpjxHi hiiu in tfau n^i^ediug place. 



0. C. HOOSB SMTTH 



125 



IVould it suit with the case to n^d: 'Here I deceive him then with 
this jKiKsado ' t 

1328: FresMhaldi. Itrattn loau whoso spirit U ap]>rou4<d well,.., 

tu iiortall, |)oix;he>i, vndor batu-rd wallets, 
Wbiuti <ttty ; bv tilgbt keepeB n-utuli-fult oautinclL 

If no authority can be fbimd for the phrase ' day by night ' I suppose it 
to bt- a uiiHtukL- Jur ' Jay by day * or ' night by night.' Or should we 
read • ay (aye) by aight ' ? 

19&6: A Ihiuljuil i)f imr h<>ii»u. ilrgmi^mtx, 

tu wlioiu NO ftiuLflci' ur j(|)ir(iol4! of buiiiir, 
Appeared to rniMe Lbe Tiic« of Itorgia. 

I think ' spimcle ' meAns ' breath.' 

SOM ; Sweet lumith ilic Ruby purt U) Paradicc 

Of my worlds |tlea»ure from vbance iiwiie fnrth. 
Many faUw bni^ bold sallies, swedt supplim. 

The- words 'port,' • brags.' ' sdllies," suggest that " supplies ' is used in a 
militar)' sense, 'assistAnce or reinforcements tn friemb." Cp. King John, 
V, 5. 12 ; 2 Henry IV, i, 3. 12. 

aid: I foplo Vttenitt ragiug in my giittcs. 

The word is, I think, ' Vesevus,* an established fi»rm for Veauviua. 

3138: AdiI thoreiforo man vron cwllod MiemeatinM, 

The liltlp world, and spcwiid tipc of God, 
CcniUiyninK thonn IiIkIi fHculLiun nnd AinuUcDs, 
Aiid demenis whirli *rL- Kiihiii t)ie vritrld. 
MuQ llieti lliikt (tutii [>urtrci]uil« wjtli all, 
Tlirongli (ii)cnili(>ii, coDiiereiilion. and aim bill jsktion. 
With ia»tt«T in tlie siibiM-t proi»r!y. 
With th' «l**meiiW iu Ijody qiu'trirnrie. 
With gniwing tilanM in viirtiiit viyifitiufi 
III neiittt with WiutlH; with huaiii'iiH hy %W itifliieiicn 
or till! au|>urui(ir Kjiiritn inui th' itiferiour 
Iq wisedonic and ('Jtp;it'iti# wit^i AugeU, 
With Eliiinn in thiil great continent, 
la without donht pn.uicriU'd hy th«t <)(xl. 
finding nil things irnntijiiK.il iii hiinsulfp. 

1 think thi« pufuage cxpreaafs trtirly well the doctrine of man att the 
inicnx"n«in. <>t epit^inii- of thr Univerwe. Mhh, who in hi.s works, life and 
signiticance (?) [MLrlic:iiKitt>» in iill tilings, i.e. <ia coiupuuiictiNi of clay, 
with biitte matter, sa having n biKly in which earth, air, fin: and yt^iet 
exist, with thesu- ulfuiunts; a» possvasing the VL-getatire sonl with 
pUnte, lut |>06»es8ing the anituut or seiifie-eoul with aoimalH, by having a 
higher soul which intiuonccs the lower faculties, with the heavens ; by 



( 



126 



fotea on 



?virs Charter 



the range of his int^llectK with ungcls; by tbua embracing all imweni 
and factiltipB, with Ood himself. Man so constitute*!, is preserved by 
Gud. and su hus all ttiuiga. C^. H. C. Agrippa, 0/ Oocutt PAi/<»ni;)Ay, 
iii, 3(i, 459 : ' Man symbulizeth with the plants in a vegetative virtue, 
with Qiiimnlfi iu a seneitive faculty.' Ddudc. Lvtter to (A« CounleM of 
SiUisiia}y. line 52 : " Wc first have soula of growth and sense. «nd those 
Wbuii our last sou), our soul iminortul. came, Were swallowed into it 
a»d hnve no n»Die.' Jdilton. J'ar. Lost, v, 482; ix, 1 12: ' Gradual hfe Of 
grfi\vth. ftonsc, rc-ason. all summed up in Man.' On the influence of the 
Btura on their inferiors, cp. Sylvester-l>u Bartas, Ist Week, 4th Dny : 
' He that doth nftirui th« Stars To have no force on theso inferiors,' and 
Tutarct or TartAiet, Vomvi. in Aritt. de Celo et miwirfo, ti4 d ; 'C'clum 
agit in hec infcriora triplici iustrumcnto.' 

3316 : fferaielt and tMutwohnt tptctaton, 

Four gratiofU mrWi tuui cunoM olmcnuUtOMMt 
fuditimu eautavt, unti \icefte rfnnrMcw, 
Ilaue thtti attJrett our T^vffict TAtater, 
T tsehangt twitf'ntmaHl, /wr brnigmilia. 

The senM Meins to re(|uin> that ' addrcat ' should hare the mcnning of 
' incited ' or ' disponed in a certain direction.' Tlie kind attitude of the 
audience has iocited the tragedians to make a return for the kindnesa 
received. 

0. d MOORK SWITU. 



[Thr Editor ha« kindly given mp an opport,iinity of seeing in pnvif 
tbe interesting and valuable notes her^ printrcd and of adding such 
counneut im Hei-inn dcwinible. I may therefore brit-fly any that I quite 
agree with the explanation of ' toot' as ' to it' in 1. 204, an interpretAtiun 
of tbi- word which had not occurivd to mc. In I. 1^49 the connection 
»f 'nioylie' with the Dutch 'niooi' had been suggested by Prufesaor 
Bang, who, however, aflvrwitrds withdrew hia note in view of the ustj of 
the word by King James In the JSwayM oj'ii Frtntise. In II. 3138 — 3152 
I'rofi-Ksor Moiiiv Hinitb is undoubtedly right as to the general meaning 
of tbe pitMuigi^ My note, which is h«ully expressed, was nut intoudwl to 
intply that iJu- whole sjH't^h was meaningle^ui, but that, no tar as I could 
lindeistiUid, Hitrm-ff wum using the k-rms employed in a somewhat loose 
luid vaguo mannor. It may be noted that in Sir T. Elyot*B Goaernottr 
{t^. Croft, ii, 371) there is a puMOgc not unlike this: ' the aoule is of 
thro pkrteii : the on^, wheria i» the powar or efficacie of growinge, which 
IB nlfto in herlies and trees as well as in man, and that parte Is called 





R. B. M'^KERBOW 



127 



tife. An other inrte. wherin tuan tloth participdte with all other 
thjnges lyiiyngc, whiche is cftlli^l fiui!»itHV;...11ic; IhinJe parte of the 
eoulc is namprl the pailf intellettuall or of understAndynge, whiche is uf 
all the otlier tmiuBtL- noble, as wht;n.'by man is moiistf lykc unW god.' 
Allusions to the doctrine are, however, fiu- from imcommon, 

] subjuiii B, few luldiliunul nutca: 

Page X. An earlier English version of the A]«xaiider i*?^'end is to 
be fiMiml in The Itee kiae of (fie Himishe Ckurt^e.-.TramtaUd out of 
Dutch into Ewjlishe by Georr/e Gilpin the Elder. 1579. fwl. 307—308. 
The duration of the contract was for '1108' (qy. read '11 & 8"T). 
The devil explains later thut ' eleiieii & eight did signifie eleueu yeures 
and eight dayes, and not nineteene yeares.' 

H!)7 ■ iluunt t>riigon ' is alsa mentioned in Dekker's Laaitiorne and 
CanttU-light ( Wvrka. ed. Grcwart, iii. 24(t). 

1535 Collman'hetl^: 'the Hedge (Rogue-s Hall),' mentioned by 
S, Rowlands in Dvctor Mertie-man, UiOfl. sig, A 2', is prulwtly the same 
pUce. It is also mentioned in Cocke Liorelkes Bote ; see 8tct;vens' note 
OD 'gidlcd goose of Winchester' in Tr. aiul Ores. v. x {xiJ, 35. 

1575 IWiihly ' Metfa thuri ' may lie the person alluded tn by Na-^he 
in Strange Newea, »ig. B 4', ' In their ab-sence, this be deliuered to Mtgye 
Ourti* in Shordiich, to stop nuiNtanI |Kita with.' 

1592 lannen I)e jisticanckern: Professor Bang points out a similar 
nnnie in J. Taylor's Anjuida. irr Nanife. t)/ JOii. Ships. 1G27. sig, B 1. 
'The I^r<l-.Ship...was \Tider the Coniinminde of the Noble Don Diego 
dejisl;/ Ctti^ive-muitkcnd, who was Admimll or high AdeUnnUrdo of the 
whole fieete.' In the ir<»rt(w of 1630 ihe uncue appeai-s as ' Dun hiego 
dejifiif dtnkxemitscod.' There soeni^ here to be an allunion to the Don 
Diego whose nnsavoury exploit in St Paul's is frequently mentioned. 
<Ct Hcywood, /''i('r Maid of the WM. IV, iv.) 

3074-5 The lines are to he found in E. Tabourot'e Bigarrures d» 
Seigneur Dai Accords, 1583, fol. 100, where they are attributed to the 
devil when carr>'iug saiul ' Antible ' to Kome on his shoulders. 



R B. M'Kbbkow.] 



REVIEWS. 



Skatwntearmn Tragedy. Lectures on HamUi, Othello. King Lear, 
Macbeth. By A. C. Bradlev. Swoiid EtJitiou. London : Mac- 
millaii and Co., 1905. «vo. xii + 498 pp. 

To say that the idoal inti?r[>tvtpr of Shftksn(»re must have something, 
wid a good deal, of thp ' myrinfl-mind ' himself, inay be a truism. Yet 
anyone who has ryad at nil widely in the sueciilntive Shaks|w re -criticism 
of the past luu^t have felt how nmch of its insiiffici'pncy (when? it was 
insuffiL'iKiit) anisv fmm the spooiilntoFs hni-ing been, in the less fortunate 
sense of tho term, too aingly-mindL-d. It is not luen-ily that one bmin 
can now banllv master the L-nonnous titfraturc- of ihc subject ; for some 
of the most illiiminiiting work has been done by men who, like Ten 
Brink, simply deoUiiwi to sifl these accuiuiiIutioiiK The problem lies in 
the enonuuiis yet elusive complexity of the fiindainental material — the 
Shnlcsperean fad itself, the bternry datam from which our apprehen- 
810D of the mind of Shakspere must in the last rei«>rt be won. A 
measure of thin complexity is furnished by the appearance, after 150 
ycara of keen di.sciis8i<>n, of a vulumu, like the preiient, containing, 
among a vast varioly of other things, not a few fivsfi ven*ions merely of 
what (lappeiis ill tho four eruatcst and most famous of hia plays. As Ui 
the mpujrious baiekground of uersoDality, out of which these wonderful 
happenings proceed, wc arc stiD further from agritenitmt. The iutcrpre- 
tatiori of Shakspere haa been proverbially a touchstone for men and 
methods. The giants of criticiam have exposed their limitations there 
as clearly as their strength ; in spilw of the immenm^ sHrvices of Goetho, 
Lei»ing, Coleridge, it is precisely in some of thetr dicta upon Shakspere 
that we most easily recognise, and have most need Ui apply, tneir 
pereonal equations. Shakspere ls full of pitfalls alike for the poet who 
uses nothing but his imaginative intuition, for the 'realist' who U8*>!i 
nothing but his pmclicol sagacity, and for the philosophic intorprotor 
who ti»e» only hi** synthetic and constructive inttlti-ct. What makes the 
problem so fascinating &Dd 6o difficult is that each of those methods is 
up to a certain point tw legitimate and so succciwful. But they have to 
he Coordinated, and there Jt is that we want the " myriad-mind.' Tbo*c 
who have most capably cxplonnl the heights anci depths of Shakspere's 
imaginative world have rarely been qualified to do justice to the 



ReviewB 



V29 



elemente of Hpeculation, of ideas, and WtieiM, with which it ia every- 
where beset; while the philosophic interpreter has been too apt to 
isolate the*e elements from their imaeiiiative context and weave theni 
together into suspicions!}' svmmetrieiS (ind coherent 'moml Hyslpms." 
And the cautiou^t aod critical scrutiny- of evidence has not on the whole 
been chftracleristic of these daring explorers iind constructors in cither 
Held. 

To aay that I*rof. Bradley's criticiam seems to combine in a rare 
dp^!p all thf-se thni* types of faculty and of mt-thod rnay smind like 
juumaliHtic h\'j)erb(ile. but is merely au attyiiipl tu dutine and i^xplain 
the iniprension which il will we think pr<»<liicn npon any open minti at 
rII inured to th<> 8hak.Hpere)in ortntrovin'Ries ot tlie luiHt. And the 
cDiobination has proved siugulai'ly thiitful In sevenu quite distinct 
domajns he has either clarified old discnssinns or made traditional 
dogmtiH inaeonrtr, or at k-ost, di-iven hoiiit- ideas, nut in thein^elvos 
unfamiliar, with frush cog^-noy and insight. Knughly, thesf domains 
carrcMtHtiid to tbL- thrue divisiuriH of the bouk. Tlit- dpi-niiig l»-ctun», 
Ihougli dealing with cooceptioiis whioli date fium the vtrj- beginnings 
of ilmniatic criticism, esiKHind 'thi; substancp of Shakspproan tjugpdy' 
and the outlines of .ShalcKjierL'an art, in a verj' siiggeRtivB us well as 
liirninouH way. 'ITien. in the six fidlnwing Idctui-es, the dramatic thenrist 
puts his alMtract wiidition by, [n.y» his mind lo .Sbnkpporp'ft, and rnmpds 
US to re-think with him these four uuiver^lly liimiliar yet inexhaustible 
crentionK. Finally, in an appendix of some thirty Xoti.'s, he inve.stigntee 
n nmnber of ^fpcciol points mainly in the oiitwani Economy of the four 
playx — time- reckoning, stage-arrdiigemeiils, textual curlailmentM. in- 
terpolations, rcminifiCfnccji, tests of styl« and metre. We shall offer 
■Omi* comment** under each of thpse three lieads. 

1. Pwfeseor iJradley appri^achct* .Shakcptrn:*an tragedy with u. bent 
mtlier philii-oophical than historica], Hf oecaiionally makes effeetive 
use of coDti'iiiiporan' plays. &» in illu»tnitiii^ the jMU'tiul iiiviiijbility of 
tlie Ohodt in tlnmiet from Heywood's Ghost of Agamemnon. But h» 
criticism bos its roots rather in Aristotle tbun in the Elizabethans; it 
represeats. we should say, the Pvett'cs correcled with extrt'Oit' nicety for 
the latitude of .Shakspere. rather than results independently built up 
frurn a close Hlndy uf the growth of KlizabeUuin art. Thus his use «f 
• accident ' in tragedy appears as an ' additional factor ' to the ' charac- 
ticriHtic actions' which form the aubstjince of the tragic plot.s; a more 
©voliitionary handling would rather have presented it as a transformed 
unrviral from a cruder technique. Tragedy as a dramatic ^entt. again, 
in wrhapa credited with a .lecurer and hotter defined position rhan it 
had VMt won in Shakspere's early days. Certaitdy. some of the point's 
in which Richard III and Richard II differ from Mfcbeth or tlutnlet 
Are due not so much to the iinnHitiirity of 8hak.-«iM'ro'i4 tragic ideal, ur of 
hia tragic power, a» t-o the traditional technique, from which till 
Henry V he never emerged, of the native English 'HisNiry.' The 
claaically niindi'<! Meres, who heard honey- tongiied Ovid in the mel- 
lifluauH iSlmkspuro. might recogninc only 'tragedies' and 'comedies' 



130 



Kevietv8 



amoog hia exoetlcDl pertonoancce; but he himself is more liketj to have 

r;(^l in the m.itt«r with hiw fellnv-arton* H^mii^ and Omdfll whine 
vi:tt>ld dispooit,ion of the Folio is well known. TdaI the di^tinctioii is 
by ou means irrelevaot to the discussion of Shaksj>ereau tragedv mxy 
be «c<n from n ftx^tnot*.- (]>. 22t when; Prwf. Bnulli;y rvluctiin tly ' cod- 
fco B ca ' that Ricliani II is ' |)erhapK an exci^ption ' tu the nonnal 
'greatoeM' of Shakspcre's traffic h«n>e«. But Shaksitere was still 
working under th*! 'old law' nf the ' Hiatoiy,' which iiermitted hiui to 
make a king, whom tradition presented as a weakling, pathetic and 
exqtiiNitf, tn give him a presence tike a 'sweet rose,' and a iipeech like 
filigree-w<frk in ivorj-; but not to put an Antony or a Conolanus in 
his place. 

Deeper matters are dealt with towards the close of this first lecture, 
whej-e Prof. Bradley H-vkii i« define the character of 'the ultimate power 
in Shakntncre's tragic world.* it is an old [awblem. and one which no 
one who lia« felt llie mind of Shsks[H-TL' can t-asilv put by. Yot it owes 
much of its npiwrcnl urgency to the exani]»le of the Creek drainatiuta, 
with their pruhtund consciousm-as of iin-^en m^-sterious divine control. 
a cotinciouMieas which but fitfully oroased the secular mind of the normal 
Elizabethan playwright, as he toiled for the lean favours of his earthly 
providence, Philip Henslowe or another. Even hero we nrv* not convinced 
that Prof. Bradley is nut scekiTig tlefimte sulutioua fur problems which 
admit of none. But hitt unal}'»is i» conducted with a union of imagina- 
tive rc-ach and cautious scrutiny that at least cuts the ground fnini some 
old dogmatiBms. Most current accounts of .Shaka|K're's tragic worid are 
governed by one of two ideas: a 'moral order' or a blind, indifferent. 
or malignant fata 'Thtse aceoiinta isolate and exaggerate aingle 
aspects, either the aspect of action or that of siilTenng; either the close 
and unbroken connexion of character, will, dood, and catastrophe, which, 
taken ulone, shows r,lie individual simply ua sitming agaiuHl. or failing 
to conform lo. the mural order and drawing his just doom on his own 
head : or clstr thai prcs.'itiiT of otitwanl foixx-ji, that sway of accident, 
and thuHe blind and agonined Htnigglet;, which, taken alone, iihow him an 
the mere victim of Bonie jKiwer which cares neither for hi.i sins nor for 
his \m.m. Such views contradict one another, and no third view can 
unite them ; but the several iispects from whose L'soliition and exaggem- 
tion they spring nre both pi-esent in the fact, and a view which would 
be true to the ^ict and to the whole of our imaginutive experience mntit 
in some way combine theiK> aspects.' 

This is perhaps only to »ay that Shakepcrcan 'fiict' is not leas 
equivoc»il iu its niftapliy^ical suggestions than the facts of life, whtise 
ioinge it 8how^ ; its diRi-rent jisjiecta begetting, in more summary mimls, 
one or other of the same dogmatic alternatives, and, in more subtle or 
comprehensive ones, the same demand tor a (erttum <fttid. What gives 
Pmf. Bradley's diseussion its chief vahie and interest is his peculiarly 
vital grasp of the contradiction latent in all properly tragic emotioo, 
where the sense that suffering and death are both real and greatly 
matter, and the sense that they are somehow transccoidcd and sub- 



I 



Reviews 



181 



I 



linwtod, are eqimll^' involvtMl. The notion that the horriWe wimte of 
euudni;i!ia iuvolved lu the death of CordcUu or itf Desdeinonit, nay of 
Othello, or of Hamlet, has in any strict sonsc componsatinit, inas ^tal to 
tr^e«ly.if it he uiuilt: ilialiuctiuiU explicit, um the uotiou Lhut the»L- doalha 
weru, ill uiiy w^u»iL- at ull, Jl'sltx t-il. Yi^t we viow this rtiiu with n giniso 
i»f exaltation which ontiroly intuitunt the mm-tiajjic ' rcuiiUion ' caused, 
as Arislotie said, hy the suffenngs of irinoctjtici!, and is quite imidLH|uat«ly 
described even by the tragic ' piiritication ' itself. No onu haH aQBlystxi 
thi^ exaltation more keenly than Professor Bradley, or diHtinj^uixhed 
mart: subtly its var>'ing sources and cotnplexiotui, in tne eeveral tm^fediea. 
It is just whim he is pinsHinj» thttsi- fluctuations and ilisjMiitio,i that 
lie scvuiii to cuniv so m-ar to Shaksporo, Nowhere nii.%rc-r, perhaps, in 
eabeuioco, though expixi^ed in phrases of aDothfr school, ttiaa in his 
fine comnteat upon the- climax of Othello, when, as the Itloor speaks 
ihcHU* butt wordx, a ' triumphant sconi for the fetten of the nt«h and 
the littleness of the livt^s that mti»t survive him sweeps our grief away, 
«nd...t>he most jiainful of all tragedies Itavcs us for thu- moment free 
frvru poin, aad exulting in the power of "Jove and raan'fl unconquerable 
mind."' 

2. It Ls only possible to touch iiuoa a few points in the detailed 

«zaiiiiaation of the four tragedies, which occupies the hulk of the book. 

Original suggestions arc, as has been said, nr>t wanting; but on th« 

Tsholc, as was to be expected, Mr BnullL-y's frt-sh interpit^tutious of 

♦hanwter and plot servo chictiv to throw the weight of a highly traint-d 

and [M'rfdctly nidfjM'ndfiit judgment in the scale of views aln.'.'uiy at 

least in outline entt'rtaim-u. Yet the clans of views whieh he thug 

«ufon;e» are not exactly, as a nile. the liuidlmifii^e, current doctrine; 

they arc apt t/) nwike uncomfortable demands upon the plain reader's 

imo^uation, and they do not always confonn to his moral sense. 

Prof. Bfsdloy is one of those who escape the illusions of tho lower L^thics 

because they ure so completely penetrated iiud poaseMsed by the higher. 

Critic* preoccupied vvilli tliu uttidy of Shakspere's art are apt to 

CBtimat« hits characters only in terms of tlicir rank a» artintic creations. 

Prof. Bradley'H criticism in rvality owes much of its teehnicfil inastory to 

his quick human Avmp&thy with them. He tivat» them a8 men and 

Women, with as lively a feeling fur personal valuer as for pin I- tunc I ions ; 

atnl their place in his " valued file' is detiormined by a large and singii- 

Urly imaginative apprehrnsion. rather Greek than Hebraic, of good. The 

o.4t»^il power of Kichard for liistjiiice, lifts him in the scale, though it 

tt^ilitau-d his crimes. For good, in this comprehensive sensL'. I'l-oC 

llmilley'K iualiiicL is infiklliblc, and the cluixacbent which iKisHenit it. undrr 

wkntever fimn. be It the goivd of Oesdemuiia's (atoful innoceucu. or of 

ligo's pinifiler * sUigecraft." or of llamlelH l'ru«tmted ' inKniiity,' mdl out 

allthc Htr\'ngili and delicacy of his critital pen-epliun. In this veiy 

lani'iif Hanihl'ji character, with ita iiiuneroufl coigns i>f apparent vantage 

b<tth for wmtimental wopihip and for cynical defamation, the critic does 

jiiMtice lu his 'noble mind' as well as to his 'godlike reason' witlioui 

■gooring one liitr)th or repellent trail. Hij! view most nearly rMembles 



182 



Jieviews 



that of Kudo Fischer, and, as that thinker is nowhere mentioiied, may 
be cnnplinli>d to hnve the inflepenclpnt. support of two of the must 
penetrating of recent Shakspereans. TTn; chi«f error in the Hamlet- 
criticism of the nineteenth century ham been, us Fischer savs, 1o start 
from the peRsoti of the hcru hdJ tlience U> inUTpn;t the counse of action. 
Prof. Bmaley liaa, lik« Rather, taken th** opposite coiirse. finding the ■ 
root of Uiimlet'& ' failure ' not in any fiindameuta) disability of his, * 
whelhar the fluwerhke ' frailty ' of Oo(>the, t,h»> ' jieHsimunn ' of PaulaHU, 
the * over-reflectivc-ntss ' of Coleridge, or the sheer ' laziness ' of Loening, 
bnt in the pamlysiiig prostration nf spirit wrought by his mother's fall. 
The key to the ' contr«dictione ' which have mude some critics declare 
Hamlet an irrational eqimtion (Schlegel), or a deliberate mystification, 
or an artistic abortion (Kltmctin), is surely to be found in the recogni- 
tion that his bistoiy is as compWx ax hiii uature. and thai moods and 
impulses natnm) to three shnrplv-tiundercd pha8e« of his life cont«od 
and fluctuate and interehajige in the niina of the Hamlet we see. 
Perhaps the meet vHluablo single point in Pnif. Bnwiley's discussion is 
tho oriticinm. ar liniit.atii>n, nf the 'over-reHertirenesw' theory, which, 
ever since Coleridgt; borrowod ^or stole) it from Schlegel, has on the 
whole coloured the English popular notion of Hamlet more definitely 
than any other. It is suggestively hinted that Hamlet, the irrrsnlute 
genius, is a reflection of Coleridge, as Uamlet the beautiful but nerveleas 
victim of a task too hard. n'flect*i Werther'. 

We may touch more brietly u[H)n a case in ■which Prof. Bradley"* 
habitual koenuenB of eye for the eomplejiitieB of ShalcH|)erean clmiacter 
appeani Ui us for once at fault. His account of the 'Witches' in 
Macbeth is full of acute points, but he surely reduces them to too simple 
temiB. That they neither impose upon Slacbeth a destiny which he 
.caTinnt ovnde, nor rm the other hand merely symbolise his inward 
temptation, is assuredly true. They arc neither 'goddeeMes' nor ' fntea.' 
Bui tines It fit all the incts to regard tbeui as Witches pure and simple, 
'old women, poor and nigged, dkiiiiiy and hidcouB, &c..' however 
'rehandled ' and ' heightened ' f Shukspure rend in Holinshod, as 
Mr Bradley allows, that the 'women' who met Macbeth 'were accordiTtg 
to (Jut common optmon, et/ther Oie toeird ttUtem, that w (aa i/e would aay) 
y* Ooddeeeea a/deatinee, or else some Nimphex or Feirieg' Hut he 'did 
not u»e this idea. He used nothing but the phrase " weird tuttrit." ' The 

Rhraeo be usefi ia ' tiie weini sisters'; and i>ne ia forced to aak. why, with 
[ultuNhed's explanation before him, did he use it if the idea was $n com- 
Sletely irrelevant to his purpose i Why did he make them, not a mere 
etachment of three out of t-ne great army of Witches, as the first stage 



' One regnrU to find thnt k virw bnnJlyleM one-MiIed tb«n this, and of Uwaanic tyfu, 
etta utill hf put fai^'aril bv th# o^cnpivnt of an EnRliuli t'nivcxiiitjf Chair. I^f. Cbttrttm 
Cnllinu, in ihe t'orititt/hilif J{rvtra' Fur NiivemtiDr, IWhi-. [niiimiliiUTii HamWt to ibo Wurthvn 
of oar uv-ii tiiiii'. rr|iucliiiUivi|[ ciuly tlm oiid tourli in Onntlis'i dMeriptJon wtueh luu 
«M«Dtial truth, ihn hi'icfitt moraiitelus W«>«in.— Goethe finbwiiiiipnllr. aa U wdl kaowti. In 
the BckfTtnuiin day». icindc liRht ot bu UoiuIgI crillcimu. ' Icli babe In iuein«n WiUwba 
UnieUr «a [Stuliesp«ro) hfiumgotnpft ; &ltein daa will ulclit riel Lalsatn,' Ot^rS^M, I, 
1(9. 



1 
I 



I 




Revieivs 



133 



I 



direction might mia^»i, bnt n mysteriouK trirt — ' |»o(it«ra of the sea and 
land,' unlike rII the inhabitonte of the earth, having 'more in them 
than mnrlal knowlndge.' and in »«>nie quite jieriilinr way representing 
' htW' and (litipenbitig ' metuphysicul aid' — if he nuts lh»t 'coDimoa 
o|niuon ' »o coiQplot«[y by ? Shakspcre viaa more likely, one Huniiises, 
tu find room fur that 'common opinion' in the coinpoitittr hannony of his 
itoagiDntive crentiou. jiint an )w foitrnt room for i§t>vbnil Klntnds of fairy 
loro of thti mu»t varit.-*! provrnanre, clu)wsir, in(*(Iiai;val, (lernianic, in the 
nuUant ami w^aniless woof of his Faer^' worUI. 

■i. Space fails for mor« than the briefest twtJce of the disCHSftioiw in 
the nppHndicps. of t«xt and scvle. the calculation of dmrnntlc time, and 
other n»tt«re frequently disdained by ' higher critics ' of Shukspere. Xo 
ane who hn» expounded the hamionica of Shakgpere »o impressivelv, haa 
shown BO kreti an eye for his accidents ; for the clemt-ot of chance id his 
plota. the element of lUicLiiatiiig mood, of irraliun:il espreitatoii, in his 
■Wlo. Mere mechanical rv ruin isco nee has certainly coloured ShaksiK-re's 
writing — an idea canubk- of siill wid<T application than Mr Bradley luu 
yM given it. Thus he points out a number of echoes of OthHto in Lear; 
at Liar in Timoit. He di)icii5»eH the very diflicult time-reckoning in 
OtheHii and in Hnml«t ; tho latter involving soveml poititH not hitherto, 
Uj out knowlc'dge. observed. The book is singularly fi^e from inac- 
curucies, iuiil !«Hiie overnights that ap]iean.'d in the first edition have now 
been removed. One apparent survivor may be found in the stjttement 
chftt Shakspore's boys, with rwo exooptions — Willi«m in the Merry 
Wiw9, and the page before whom Falataif walked ' like a now thjit hath 
ovDi-wbelnied all her Ittlvr but one" — all occur in 'tragic or iwmi-tragic 
dnmaii.' For what of the ' brisk juvenal ' Moth f We tnust that 
Mr Bradley will regsird the oiniwtion as n debt which ho haa to pay ; and 
timt Sloth, with William and the page, and the whole vast Comic 
c«iin]iany u'hom ihey and their likes attend or embarrass, will later on 
receive the meeil of u »eooad volume of interprutativu comiuciit hs 
penetrating and na Inminoug as thi«. 

C. H, Hrrpord. 



A Middle Ew^Uh Rttader. Edit^xl by Omvkr Fakrar K»rr.sox. 
New York ; The Wacmillan Company, 1005. 8vo. cxix + *7o pp. 

ProfeflBor Oliver Emerson 'b book on The English Lanauage is ho well 
known that hia latest contribution to our knowledge of Mifidic Knglish 
will bo weleomei] by manv students hi this cnuntr}'. .4 Middle Rngl\nh 
Jimtdtr will uHt:-ftilly supplernent the valuable apeeimem of thei luto 
Dr Uorri^ iuid Pn>fes.«or Sk<:-«t, but those standard works will not bo 
nifldered obsolete by this new Ainoriciui Jteader. 

The rntr^Miuction, dealing with the dialectt; of Middle English, 
follows the (iuhion of motlen] philology in taking core of the aoundn 
nod letting the sense take care of itwTf. In other words, Mr Emenum 
tnues the evolution of the phonology with great elaborateness, but 

M.k H. 9 




134 



JSnneiM 



pnVK much lew attention to the historiotl deT«[opment of the nu'aninga 
aofi uses of words. He devotes more than 50 pages to phonologj', and 
40 to [nflexionn. Ke ignores Syntax allogettier in the Grammatical 
Intrffduction. but has some Bcattcred remarks upon it Jn the notes. The 
extracts L-hoaen in acme cases coincide with thiMe In ' Morris and SkeaC 
but the editor has evidently exercised independent judgment in making 
typical Bflections, 

In one respect hU example might be followed in a now edition of 
the Clan-rcloii PresH vt^lumeii: he; kcefct carh dialect to it«e!f. Tlius wo 
have firKt 125 pages of writings exclusively in the Midknd dialwjt, the 
form frnm which oiir imtdeni Hngli^h is mainly dRscended. Next vomo 
50 pages of (!xatupk>s of the Nurlheni dialet^t: then nearly 50 liagee 
specimens of the Southern dialect, including Kentish; and finally aboi 
2n pnge.4 of th(- dialect of LotHlon: in all, 24t! pages of iiitaoellaneous 
Mindlu English text^ Sixty-fmir pages of notes t'ollow, and then a very 
full (_iln«8nry (uf ItJO piiges or sn) give-s the stwdrint much to Iwr thankful 
lor. Tht- ti'.xt is acctirati-Iy prinUHl (by Mr Hunw-v Hart, Oxford), and 
the question only remains: is there anything to grumble at* 

Well, iht'ii; ia the priet- fur onu thing. Both trie ('larendon Preaa 
Specimen and thiu nvvi Reader cotil mure than many studL'uta in 
IJmversity Colleges and the Higher CtosDeta of Schools ahouUI have to 
pay for their lexl-book of selectiotis from the early literature of England, 
There is a wide opening f'tr i\\v enterprising publisher who will put 
» good volume nf Mid<ile Engliinh KelectionK oti the ninrket at alxmt 
Ss. ti(A With nhort Intnxluctiutts, a suntniaiy of dialectic choracterifltiea, 
and a complete Olossiiry, such a book for Class use would be sure of a 
worm wtlcome Gx'iu many teachers ftud studeuts of English. Thift 
then Ik oiiv tanit — nut Mr Emerson's, of course. Another is that tha 
GloHsiuy, good though it is, is not good enough. The meanings given 
an- loo gHneml. and wjinetimuK too diven»e, for the student's guiJanc**. 
The crow-reffrenccs need W he considerably increased. There are soiuu 
ponitive blunder;; to be corrected. Still, the editorial work i» on the 
whole well done, and, to show that these adverse oinmenta are not 
made without jair testing, the Ibllowing marginalia on the Olns^sarj- are 
np]>ended fcjr the use of HtudenLt who may attempt to work throtigh 
tliP preMcnl edition uf the buok. 

V. 321 : iksimde Mr Emerson prints iw one word ; Madden (whoso 
text Mr Ementou follows) prints eiide as a separate word. Wliich ia 
correct f V. 326: arrysers, 234, V2, in the sense of 'rebels* apparently, 
is not ill the (ilossaiy. P. '<i2h: aweltlen In the passage quoted cannoi 
mean 'reHtniin'; it may uieati 'eonBtrain/ or "control." Under 6aW 
should he given a referena- to 12!t, 27 (where it is misprinUrd ha by 
the dropping of two letters). P. :i;iO: bednfie, 116, 5, should be gixN>n 
as a cross-reterence to bidnie. P. HflJi: ijuery, docs not by^iode (see- 
under bigtm) mean 'persuaded,' in 222, 12 f Tlie sensea given ia th« 
Glo.<Mary are inapplicable. P. 338 : horh in the paaaage referred b^ 
195. 31, seems to mean "iwyment' nither than 'jaicurity'; it is a sort 
of brutal jest, 'give her money down.' On this page a cross- refcrcnc* 



RevU 



ws 



185 



of borr^en, 10, 19, to hergen in lacking; Rnd under bawen tthould Im 

'aet fruMrt aiao,' for it ia questionable if buhen, 193, 26, (fiven under 

to;;0n, snoiiH not be under bovten, as it means 'be obedienl to.' On 

this page (340) qnerj- ' broach ' us the apocial moaning of hroitch, and 

query 0. E. hrjfcne under brj/che. P. 349: under dai a reference l« 

eueft' <Uit dfi, 192. 15, should be given, and the form deis should bo 

explained: does it luean ' diiy's day. or 'dai'sdiiy.' or ia the student l« 

onjecture that it may bo 'dies dei ' ? What the labimoiis under- 

grnduale might niaki; of it we cannot siiy. On p. 950 thi; same 

undergraduate would find it helpful to hnve defi ^jven ll!>7, I) *'th a 

Teftrrnce to dugen. drdb'/te is u-ss ' iitdncnii-nt ' (in the ecelesiastical 

sense) than 'restitution.' d{/, nee duven, .should be entered. P, 355: 

*iiide. 207. 31. in a somewhat difficult phnise C' ne dilde bom nojt,' which 

iliirris and Skent explain 'did them nought, no harm'), i.-* not noted. 

J^nd (juery is not fciie. which Mr Eiueraon gives only as an adjective, 

"■iwf*! substantively in lill.22: 'into |>e *Vhe of heovene' ? K 3i59 : the 

funns eijifi, eie. need cmsa-n-lervncf ; aud on p. 3H I the vurb-fonn /eld, 

*8. 19, might huvo a refereuee to j'olden. Ou this page the word /fie, 

■" tnie, dear, go»)fl,' 183, 2H, ia intelligible, but Layamon wrote, nr at 

least Madden printed, sele (long tt), which lueanH much the same thing 

"fcut IB a t4)tally <iiftV!rent woni. W 307 : thenr iw nomething wrong with 

_>(»ruipr]Mii , at least the tiixt han /ortiveii'iien iit 9, 2.'). In connection 

"^ith the pronoun he on p. 376 we should like to know from Mr Emerson 

^■hrtt he niakp-.«i of th« form f«p on 191. 25, 2(i; 192, 5 and liMj. 5 t It 

WMJtns to mwan ' thev.' but the Gloasary records nu «ueh form ua a 

3nx>noun, though under JSy we get Jwo, 201. 3, iis the adwrb. P. 379: 

-JlCT-yny mvantt ' hearing,' 102, 10, but wrems Ui nieiui ' pmiso ' in 102. 20. 

"These jKw^ges ore not noted in the (jlossnrv. P. 393 : under I'U, ' little,' 

the Sth, UU, • few,' 198, 30, is not given. P. 402: the word wiutre, 231. 

^. itt not in the Glossary. P. 404: a neniigU!, !85, 9. is explained tit 

TntaD 'uext'; but the sense seems rather to hv 'quickly,' aa though 

awmp confusion existeil with a form derived fnnii on o/oxL P. 407: the 

■Gkiesuri,' has •'•knfe, but the text ohjre. A cross- re fei-ence, ' tfni, see dTii,' 

might be given. P. 414 : qualle ; the OUwaai-y explains ' O. F. miaillt : 

^ui/, 151, 27." This iR ' very like a whale * ' The text saya: 

pf> phde ilai, mcrhuitw and qtiallo. 
Ami a\a gr^to ti"c« al!<i, etc 

P. 41(i : under tvden m }'&ade (e Sth.), 193, 13. where the text hits toriade, 
which in not given in the Glossary. P. 420 : the use of «aXw. at 230, 8, 
nfpjmn'utly in the senw; of '.strife' <or of guilt*?) is not given. P. 440: 
ijuery, does tok, 211, 7. mean 'rebuked' ? The Oiuasttry given neither a 
w^rencH Dor an explanntion. P. 442 : U-eoice, 22U, 10, does not appear 
h*re. P. 4+4: undi;r jjegXrc!, ' their,' among the variant forms miould 
I* given appai-ently the form [Mir, I5ti, 24, meaiiitig 'of thowi'j' On 

ti. 447 Ur GmcrHuD govs one better even than the 'docp-sea quail': 
le cxplaiiw JwkA, 197. I, as a Southern form of ^iirA, ' through,,' 'on 
•««?>unt of The passage is: 'ant dOn hire boui I'erin in staQeoe 

8—2 



136 



Reviews 



]rrah hehUche,' ' aDd put hor body therein in a stone coffin hoDoambl^ ' 1 
]»ru/i. *a coffin,* i« nul a vt?ry rare wnnl. P. 44ft: u/ifBe as an adjecUv« 
is f^loflsed, but the Kentish example is possibly advc-rbtAl, 215, t.aud 
at 225, 27 there can be no dftubl nf the adverb. The wi»rd unprenable 
occurs ODce, and tbe Btudeut is givt-u three uieaiiiiigs : ' itupivguable,' 
'improper,' 'wrong." Are these synonyms? P. 452: titJ is explained 
'fiice,' out in 121, 14 seems to incftn 'view.' P. 444; under which 
word will the student find the uuglossed form war. 160, 20, and 
what does it mean? Does wir>i mean 'curac'in 161,9? These are 
nuetttiouM that industriuus yuutn will a.sk in viun of this Gluenaiy. 
r. 455: qiiery, what does tvenan mean in 189, fi, ' swa deB iSlc witer 
mon \m. n^tide cumeB wOiimi ' ('oh whom need cometh ') ? P. 460 : the 
Glossary doBH not really hel]) one to umlemtanU the expression wylB 
grocckinff in 233, 26. Is it ' know to have a grudge," or ' cherish a grudge 
again.st.' i P- lfi2 : WQt should havp a eroRs-referenee to mten, and in« 
tuyi ('one knows'), 210. 19, should be glossed. P. 464: ifiirJie*. 195, 7, 
mi-nns 'deserts,' not 'dignities,' iii* the Glossary would imply. P. 4©6: 
undtjrjcWtfn. ' rt;cuiupen6e,"yifcld.'is glossod^ro/rfej*, 211), 1. which .■seems 
rather to mean ' grows old ' {dcien). If bo, this in a very serioua niiiiiake 
of the 01o9»ogniphcr. jui^n under ^eten is wrongly jianted pp. It ia /rt. 
pi. The geoeml seiiso 'give' only iranHlatea jewwi, though in 195,3, 
*ne jeve ich for ine nowBer,' it plainly nH}an» 'care,' as often. P. 466: 
queiy yeaiden, oh abovu noted. 

This list is very incomplete, but if it leads to the improvement of a 
useful book it will serve the turn. 

H. LiTTLEDALE. 



Speixitnens of the. Elisnhethan Drama from Lyli/ to Shirley (1380-1642). 
With Introduction and N^tes by W. H. WiLUAMs. Oxford: 
Clarendon Press, IDOS. viii+576pp. 

Worke /or Cutters Or A Merry JXaCoyue Itetweene Smord, Rapier and 
Daggei: Edited by A. Y. .Sievekinh. lAmiJon : C. J. Clay. 1904. 
92 pp. 

A Xew Way to Pay Old DebU. By Pn. M.\."WINueii. Edited by G. 
Stbonacii. (Temple Dranmtists.) Ijondou : iJent, 1904. xii + 
128 pp. 

Old Fortunatus. By Tn. Dekker. Edited by O. Smeatox. (Same 
Sent!*.) 1904. xvi+142 pp. 

The Arraigmttait ()/ Paris. Ky George Peele. Edited by O. Shkaton. 
(Same Series.) 1905. xvi + 83 pp. 

The Return from Pamasane. Edited bv O. Smbatos. (Same Series.) 
laOS. xxKii+ 130 pp. 

The Devil's Okarter. By Karn.^bf: Baune-s, Edited by R. B. McKlRROW. 



Reviews 



137 



\ 



{MaUnialiea tur Kunde Aes alteren Englischen Dramas, vi.) Lou* 
vaiu: Uystpruyst, 1004. xxm+ 144 pp. 

Sludien iiher Shakespeare's H^V^-itii^ an/ seitgenossische Dramatikgr. 
A'ou E, KoEl'PEL. (Same S«rii;s. rx.) 1905. xi + I0;i pp. 

The Swist^: Par Arthur Wiuiox. PuWW J'apr^ uu maDuscrit in6dit, 
par A. FKUiLu:K.vr. I'ans: Fisohbachf;r, 1904. cxxii + 1 12 pp. 

Ute White Devil and Tlie Duchess of Mat/if. By John Webster. 
Edited by M. W. Sami'wjn. {Belles- Lettres Uerim. Section in.) 
Boeton : Heath. 1904. xliv + 422 pp. 

£aatward Hot and The Akheniist. My Ben Joswin. Edited by 
F. E. ScHELUSt!. (Same Scries.) 190*, xxxii + 408 pp. 

Jvttg D'Ambms and The Revenue of Busay D'AmboM. By GeobQB 
Chapman. Edil-Hd hy F. S. Boas. (Same Serit-s.) 1905. 
slTJ + 332 pp. 

-iShfdtM in Jotiswig Comedy. By Euzabeth Wixjdrriikje. {Yale 
Studies ts English, v.) Boston : Lft.mson and VVoilTo, 1898. 
103 pp. 

Jkrihoiometo Fair. By Ben Jonsun. Edited by C. S. Aldes. <Same 
Series, xxv.) New York : Holt, 1904. xxxiii + 236 pp. 

J*Mtorf*r. By Ben Jonson. Edited by H. S. Mallory. {Same 
Series, xxvii.) 1905. ciii + 2S0 pp," 

Th9 Staple of News. By Ben Jonson. Editetl by De Winter. (Same 
Si-rifs. xxviri.) 1905. Iix + 27:i pp. 

The Conti'overKij bet-meen the Puritans and the Staife. By E. N. S. 
TUOMPSO.V. (Same Series. XX.) 1903. 275 pp. 

Mr A. W. Pollard'n admirable Belection of English Miracle Plays. 
Muraliiies, and Jtiterludes Brat appeared in 18!K), and a fourth and 
Mvised edition waj* published in 1904. We believe that the ungiiiul 
intention was to illustrate the whole of the Elizabethan drama in a 
umilar majiner, but the dillicnlty of dealing with the latttr develon- 
Biits by meana of selections proved eo great that the plan was lor 
e time allowed to drop. The volume of iSpedmeTis remmtly ronipiled 
by Pnifi'ssor Williams at once challenges, and suffers from, a coiiniarison 
with ita predcL-extiir. None cif the persons responsible for its publication 
tppi-AT Ui have rtJilisoji the natun- and the nmgnitudo of the difficulties 
ill the nay. lUid we mu.st confcHs to uut undei'siandin^ what demand it 
ill t>xp(M.'t<;d to meet. From Mr Folljird's volume the student can obbiin 
» rery fiiir knowledge of the nature and history of thu ruligious and 
didnciic tirama of England. No sueh knowledge of tUo later drama can 
bt- gained from the isolated Hceni^s prinleil m the prenent M'urk. A 
Ciudiarity witli the styles of certain writers may bu gained and a few 
hii^mphical faeta may be learnt, but the student i.s likely to renwiin 
*hollv ignorant not nnty of ElJ/ahethau dramatic art and its historical 
dtrdupment but even of what an Elizabethan play, as a play, ia like. 



139 



Eemeua 






There is, tnoroover, a, aeriouB cap betwcvo Mr PoUard'B work, which 
•gaidn with Jolin HcywmMl ami Bale, and Professor Willianifl' which 
•ginN with 1->'I>'. Though ill jilaniied, however, the work has been 
cx'iciit)-') vith fMTi^ and jmlj^ucnt. In all ninety-three specimens are 
((ivcn, illiwtmtin^ ivrenty-ftmr pla}-wrieht«. Extracts contained in the 
originnl ' l^nmb's Si)ecimens' are avoided, though s&veml upp(.-ur which 
HTv Ut hi- fimiid ill iVifi-xsor GoIIancz* edition. Texts have boon lak«n 
frtnu tht- Clnri'iidou IV-as uditiyna in the casoa of Kyd and Lyly, otht-T- 
wiiM' fniiM thy driginttU; but thi-y apptar to have been mouemised 
Ihroii^liout. The ammgcmont is in some coses open to critici«n. 
titdimuM iind ti0ortf9-u-Orevn both ap|H>ar nmler Ortittne, thmij^h the 
vilitor luiniiUi that in noivhor caeo is there much ground for the aitri- 
htilion. Sitnii' nf th^! opinion!) ndvancinl arr likejv W rauHe Durpriw. 
Thill I*r»'fi-M(«>r WilliaiiH thinks Chapman's diction ' lucid," and holds that 
iiiiii^h iif thill niithor'i« liUogixl nhseiirity 'is due to the f«ct that he has 
iicvt-r Im-hu |tnti»'rly ediU'd.* Then- is undonhtedly some truth in tho 
Muuiirk. but vtv Ikncy that Mr Boos, ihc outy scholar who has ever 
nlUunitt^'xl tho ta«k, will bear iti* out when we suggest that no amount 
of nlililiK can owr render lucid ihc tortuous iucuose^ueacc of Chap- 
iiinn'n iiK'iituI i>n>cMeh.>«. 

\\V an- iiKii-bted Ut Mr Sieii'king for an wlition of the Cambridge 
fthitw i>iililU>4| Work/or Vtitlett, orjj^inally Hrint-ed in HilS. Tho amiable 
niiHlr«ty with whicn he pute forward hm "daring ui»inion ' that the 
author ol thi» IriHc was Thomas Heywood niusl needw disunn serious 
ifritMim; btil, whilo Mhnirinv tho ingimutty of the argument, we caiiuot 
pivtrlid lo lk« (suivinwHl of the juetico of the attribution. The Moslcr 
tit I'l'tuhtiiim' oMitribule* n pwlitt^ly sceptical 'note' by way of iutroduc 
lltui \Vr' hiive, l«v tht' way, Imeii unable to diseover on what principle 
|ilit> ' (lliiNiitrmt Kpili>X^u' ' is arrimgt.-d. The (.•iitni-M an; not alplmlH-tical, 
litir d" thiiy ftillow ihe oiTler of tht,* texU 

Tho 'Ti>iii))lv DnuuatiiitK' t)enr« has in the past contained good 
Wufit, niid l>t<(<n connected with the names of reputable wholarv. ThiH 
U till' only consideration which inducea us to notice the following 
voliniiiw, ill wliich tile editorial work bears every mark of earelesisneits 
nnti igiiMi-wtifcr. A few instances from each play must suffice to bear out 
ttii» ueiii'nti ci-nMire. Thii.-* Mr Stmnach. in his introduction to the 
.\»u> Wuy to Paif Old Debts, informs us that the Ftrffin Martyr was 
MuMiiiigur'H ' Hntt imaided effort,' though it is well known to Iiave boen 
n joint comiHiHitiou with Dokkcr. and uorc, when published in ItiifS, the 
liiiiiiiin of hiilh authors upon the title-page. Again in enumerating the 
rliiiif |4«y« of hilt author, ho mentions both the Fair Penitent aud the 
f'lihtl thnrry. tliuiigh the funiier is nothing but. a ri/admeuto of the 
hiir.T iiuwle by Itowo in 1703. The Globe is eaid to have been ' thd 
Mixiii' of 111! ShiikeH[iHare')) siicceNseH ' in Npite of the fact that it was nob 
liullt till l<M>ft. On the same level of scholarship are the plays edited by 
Mr Hiiimtori. In the introduction to Old Fortunatvs h Dekker-Uorlowe 
pi.lliilii.nitioii in l.'iHS is treated as an established fact. As evidence of 
1Ih> |)Mpulant.y of the play are cited editions of UiOX Hi2'2 aud Iti'Zo — 






"feiteBe vten of course editions ol' the chapbook. In thf notes we read that 

^^y^y vrute a pnmphLet callfxl Crack me thi.» iVut and that ' Th«n> was a 

seKorce black-letter pamphlet called An Alnwndfor it Parrot published 

«L'Brlv ia Elimbeth's reign,' One woidd hanlly gather that both belong 

to tne famous Marliri Mar-prelate cunlrovunsy. This waa iu ISSD- 90. 

■which is anything but warly in Klimbelh'K ifign, and Lyly's authorship 

vif either i« iiiipixibable. I''hi: text is a nicrf rt-'print of the ' Mermaid' 

«;Klition, and an obvious misprint is ix-taineU iu the fifth line, though it 

is quoted com-ctly in thr notes. The intrndnction t<» the Arraiipimtnt 

of Paris Hiiuplies us with the aat^tni^hing titateuDnt that ' To feele 

btilonKS the rumour of fii-st employing blank verse," although Hurnry'a 

^OUrUi Aeneid apjit-arfd c, 154S, (iorboduc in I51Ii», and the Arraign^ 

■mml not till 15iS4. Jtick Stntw is classed among Peele's works, though 

the ascription is mere conjecture; the game applies to the Wwdom of 

Mr Vodypoti. The edition of Peele's works piibjijfhed in 1828 is 

«acribe(I to one Robert Dyoe ; that by BuIIen in 18SS. thongh the 

■standard one, is silently ignored. ThL* edition of the Return frum 

J'armUHUS is phunied on a uiore anibitioux 8cak' [Uid offers a coiTe8[x»nd- 

ingly larger cwtp .tf ulwiii-ditioft. The text is Mtipj>o»ed to be laodernised, 

Tint obdtolele sjwUingH occur on almoKt wvry iMge, and no conauEent 

Attempt has been made to correct the errwre of tne quarto from the rcad- 

iDgB uf the ua. The quotations in the notest are consl-anttv at variance 

with the text, and the i-eferonces constantly wrong. For mstance : ' IL 

it tifl. Mfastf barharxanx = some critics suggest. " most !i ke barbarians." ' 

Thia is not very lucid; the relerenco. moreover, shnnld be ii. i. (j6, and 

' Host like barbarians ' is the rvadiug of the text. In illustrntion of the 

««nl «ta/M & posaage is <]Uoted from the Tempest. The words in the two 

cases arc iniitt; dititinct and th« meaning suggested applies to neither. 

The noun in the Tentpeet iuvtma a decoy ; the verb, aaappUed to a horse 

in the J'ili/riitinffe. means something el^e. I.fl.stly an ettitor who calls 

Joosun'ti liiiher a bricklayer and (iabriel Harvey a ' Maqirelate Pam- 

phloDeer,' and who think.'^ that lo ' untniss" inean-s t« ' gird nji your loins,' 

must ha%-e a quite notable ignorance of Elianbothan biography, littjmtiire 

tnd language. We have fiir from exhausted the curiosities whirh these 

volumes present, but have ppibably said enough to jiislHy our opinion 

«f the iHlil<>rs' qiiHliliciitionH. 

Mr .McKerrow di-sorvfs thf thanks of sLudents for his careful work 
upon Biinifji' strange and hithrrto iimccessibU' Jilay, The Uevil'a Charier. 
Iiti als«i h:u4 a claim on otir gratitude on two other scores beyond the 
iuiuK^liate ii^ubject in hand. Ke 1»U4. namely, »up]tlicd for the tii'st time 
H uiiiMite and seholnrly exposition uf a complicated bibliogra|ihieal 
prubleni. This is the detenuination of readings acconling ti> ctirn^ction 
tij' foruie4(. The theory, which is of great iinportanci! in textual eritieism, 
i* one of which few edilore appear ever to have heard. That different 
cupics of [he Willie edition of an Eliaibethan work <ift«*ii vary in their 
readings, i» now indecil more or leiw of a ■commonplace, but moat editora 
■re cunteuL tu Hpeak of one copv as KOonging to an earlier or later 
■lAte than another. This has often been shown to be illegitimate, and 



140 Reviews 

Bome have maintained that the unit of comparison is not the copy but 
the sheet; while others have gone further and realised that the ultimate 
unit is the forme. Mr McKerrow has applied this theory to a play, no 
two of the four extant copies of which agree throughout The other 

Soint of wider interest in his work is the identification of Barnes' 
emonotogical sources, which will, no doubt, be found to have been 
utilised by other writers too. The play is a difficult one, the text being 
VBry corrupt, and in spite of the labour bestowed on the notes several 
points remain obscure. It should be said that the alleged marriage of 
Lucrezia Borgia with Don Gasparo rests on no historical evidence. 

Professor Koeppel's volume of Studien appears to consist of gleanings 
from a scholar's notebook. He takes a number of Elizabethan diramatists 
and points out in each passages, situations, and motives, which, he con- 
ceives, are in some measure parallel to others in Shakespeare. It is an 
amusing game when it is played, as Professor Koeppel playa it, with 
teaming and judgment, and we gather from his pi^ace that he does 
not take himself or his results too seriously. If we are bound to confess 
that we are not always impressed with the appositeness of the supposed 
parallels, we should hasten to add that the volume contains many fruits 
of wide and curious reading beyond the strict limits suggested % the 
title. The authors do not appear to have been chosen according to any 
particular plan, and, since we miss so notorious a ' Shakespearian ' and 
unblushing a plagiary as Webster, we conclude that others have been 
reserved for discussion upon some future occasion. 

Arthur Wikon's play, The Swisser, the autograph MS. of which was 
recently acquired by the British Museum, has not had long to wait 
before finding a competent editor. M. Feuillerat has discharged his 
task with the loving care of the true scholar. To his reprint of the Ms. 
he has prefixed an elaborate study of Wilson's life and work, the former 
portion of which, consisting as it does largely of the author's miscellane- 
ous autobiographical gossip, gains not a little from being written in the 
classical language of the mimoires. We are genuinely grateful'for the 
entertainment offered, and have only one criticism to make. We remain 
unconvinced of any such topical intention in Wilson's play as his editor 
would see, and we fancy that the same excess of ingenuity may be 
found in a tendency to discover psychological significance in biograpnical 
trivialities. The fault belongs to the method, which is distmctively 
French, and readers will discount it according to their individual tastes. 
There are one or two slight errors, such as 1613 in place of 1612 as the 
date of Prince Henry's death. The editor has followed the ms. reason- 
ably closely, though he has not attained that absolute fidelity which he 
perhaps hoped for. \\'^e have not, however, noticed any errors of con- 
sequence : the impossible ' Parcoe ' for the correct ' Parcse ' of the MS. is 
the most serious. The extraordinary spelling 'toiigne,' which occurs 
five times, is Wilson's vagarj-. The question of capitalisation is often 
difficult in the case of a Ms. but the editor's practice shows rather 
unnecessary licence on the point. Although Wilson's language is not 
difficult, the notes might with advantage have been somewhat fuller. 



Revieivs 



HI 



I 
I 




In Kfiite nnliR liibottrs ofDyce few Rlizaliethaim Hbind innrp in need 
nltontion than Webster. It is all the iiiuiv a rantter for 
lation thnt his twi> gn^nt imgoclios shoiild have fallen tw the 
Quv <jf M able uihI rlevoted a scholar oif PixtfetMor Samptton. For tlie 
first time we have a renlly eiitlcjil E^xt nud soiuethiug like adequate 
coirimttntan'. It is tu theoe Mictitin-s yf the work, however, that we must 
look Uv tlw editor's Kuccess. The iutnxluctioii. ihouKh it pre«ent8 in 
admimble fnnn whnt therti in to Huyon the »iibject of Webstflr's life :ind 
work, .-uldH liiile U* our previous knowledjje. Webster the man reutaiiu 
as indistinct a shadow as ever, and the riddles of his sources remain 
animlvm]. In the cnse of the Whit« Oei'Sf. white the historical facts are 
oumoK-rfi kiKjwledgc, Webster's immediate authority ts iiiidiacovered. In 
that of the Dudieas. while the litemij- ancestry can be clearly traced 
back ne ^ AS BAndollo. the events he recordi-d have left no trace in 
bisCoty. It Ik, liiiwever. |His>ible Ui ijiiipjily the uaiue of the lady wbo \» 
enodc to play the p«rt of herein*. She was Oiovanno, daughter of 
AnTjpj, 11 boHturd of ihe house of Arajfon. and wife nf AUbmto Piccolo- 
tDini, whom his uncle. Pius II. created Duke of Amalfi. We have 
aometimeM thoiif^ht that the story may have originated in a cunfiudou, 
and that thoii^di Bandnllu's Mnlfl is undoubtedly Anudti, the basis of 
the legend slmnld iterhajis hf .stmyht in the annaU i>f the small princi- 
pality <if Mi.-lfi. Tne nsttmi-'ihing statement that Webster * draws his 
tni tors and liara and adulterers nnscathingly' is presumably due to a 
niismint. 

ProfejworSchelling. though he hiut had less opportunity for originality, 
has alHo produced a useful volume. The chuicv of a plav of composite 
nothorxhip i.H Xm \»- explained by the fiict that •Jomon will ligure u^in 
in sulweipienl volumes i»f the series. JCiistti'tird Hinf hivs, uf cuur**. been 
Motvtsible in tht- i-ditiims nf Marsum by tlalliwell |1K5(1, old »|>elling) 
RuUen (IKK7, modeniiw^l) but there reuiainetl plenty of scope for 
itorial work. Of the Alcfteniist numerous editions are available. In 
the <Mm of thia play the editor remarkii thnt ' .Tonson's punctuation, aa 
well as hilt s)M;iring mid iiuirking of intended elision, hoA been pre- 
SRrvvfL' Wc ntiitcf, however, that the nw of capitals and italics and the 
dirtinction Wlwccn u and v havu been, as els»iwhere, at U^siat partially, 
ini<lenii»ed. 

E'nib'Mvtir BiMis had u tusk and an uj)pi*rtmiity even gruat4.T than the 
editor uf Webster and he haa not failed in them. Ko serious attempt 
hm ever betbre been made towards editing any v\&y» of Chapman. A 
carrfiil eollatinn of pi-i'vion.i i^ilitions ami a sparing use of conjectural 
nnungeinent with regaml ti> directi'''U9 and readings, haa now done a 
ginHi deal toward:* r^-ducing the iwn plays selectefl to int<>lligible urder, 
while the Uboiir ungnidgiugly bestowed upon the notes does yet more 
to illuminate the simuge vagaries of Chapman's mind. The editor has 
nlfo rendered valuable service in the matter of M>urcc<t. alike in tmcing 
lilt' Heivntff, a» «l.<*o the B^fun plays. l« Grimestone's Generat InwtUury 
nf tilt History of Framx. and in registering minor debts to Epicletua 
and Sent-ca. 




142 



fme^P9 



The preoccupation of the students of Yale Univoreity with the 
comedies of Ben Joiison be^n as lung ago a* 1898. with Dr Eli)al*t.h 
Woodwards Studies. In these the iiuthor endeavoured, Gnjiq n minute 
t^xiimiiuitiiJii of four or five of the chief ctmiediffi, to reconstruL-i thr 
main foatiirps of Jonson's (ut. Such an attempt offers an intorestiug 
fifld to thr critind student, and the metho<l is legitimate enough. The 
naturu of JoriHon's writing makes it ptiHsible, moreover, to a degree to 
which it would not be possible in the case of most of his contemporaries; 
while his own direct judgments on mattt^rs of Htemn,- criticism »uppl}- 
valuable hints for our guidaiicc. The prtsL-nt t-saay tttarts with certain 
general nnnsidcnitions and then proceeds t<> detiiiled analysis, thiis 
rather supplying the ba.sis fi)r fittiin- study thiui octunlly inxouipliahing 
the work of construction. 

The varlieKt of the; JonHdn texts U> npiHur was Dr C. M. Hathaway '« 
elaborate edition uf the Alchtnuiat which wl' noticed in the Modgrn 
Lniu/utLt/e Quurterlij in April li*04. The next waa IJr O. S. Alden's 
tiartholomeiv Fair. The text of this is a careful reprint of the not verj- 
accurate folio of ' 1G31 ' and the note* supply a fairly adequate elucida- 
tion — then- is no hmit to what might h*' written on the subject- — though 
some are calculated rathc-r for American than fur British consumption. 
Am in the earlier volume, however, the bibliographical matter cannot be 
^together comuicndod. The fuliu is said, on the authoritv of Fl(»ty. 
to have been printed by John Bvnaon, though he flid not begin work 
till 1U;15 and was tnomnvRr a booksi-llur and not a printer. The 'I. B.' 
of thu tillf-jnige was John Heale, as is prnvod by the device, not a wolfs 
head eiTiscd. as the editor sovb, but a grilfin's, together with the anas of 
Beale and the Sratinners" company. The statement that the play ' waa 
performed at court. beKnv King Jamea, November 1, Hil4, the day 
following its first production at the Hojie" is presumably given on the 
same authority, but d<.*sijite it» obvious importiuiei.' for the litcnu-y history 
of the piece, the evideiicy fur tlio juisurlioii is not qtiutt^'d. The intro- 
duction as a whole is slight, and the remarks on Jonson's nsalism ap|K*ar 
to us devoid of critical inlerost.. 

Dr Mallory's edition of I'actaettr is in all waj-s a more considerable 
piece of work. The bililiogniphical si-etion is elaWrate and on tht- 
whole satisfactory, though the faet that the editor has thought it neces- 
sary to tftki; H-'peaU'il notice of the imiissinn of the letters J. II, \V, frnm 
the signatures suggests a (■(■rtjiin imfamJIiartty with his subjects In 
his treatment of the stage (juaiTel he has been mainly gnidwl by the 
work of pBuniman and Small, the latter of whom he holds in high 
estoem. His discussion of the propost^d identification of characters is 
full and .>iL-holar!y, and he writes upon a subject, which has called forth 
almost as much nonsense <ls the Soiiuetsuf Shakes peuro. with admirable 
judgment and good sense. With his main eoneliision« wo are m entire 
agreement. Tlieso arr that m Jonson's plays tin.- only identifications to 
be made arc Hoi-ace with Joubou himself, Hedon-CriMpimm with Mar«ton, 
and Aiiaides- Demetrius with Ui'ktior. In tho t<>xt we havo noticed a 
good nuiny smalt variations from the copy before us, but most if not all 



I 

I 
I 



of thtwL-, wf have no diinbt, an: iliii; to vaiujitiuna Wtweeii the origiimils, 
the exislcnce of which is duly recorded. Altogether it is n vory uBoful 
«^ition of thifl piv[H)ston)Ui^ jiltiv. 
^ Thf* chief interoHt of Dr 1 V tVinltr'awtiitinn of the Stapie «/ -V^mjst lies 
fii) his propoeed ai«.'riptinr nt' thp Londnn I'rodtgat in whole or in part t« 
Jonson. IIp pniv«« cloaHv thnt thf •Stnpfe is little more thnn a patch- 
■work from a variety of writings, sciuie cltissicul. but mostly recflgniflfd aa 
Jonson's own, with the cuo-'ption of tlio Lojidon Prodigal. The likenesw 
in this case is Khown not merely t«) lit; in the general situntiun, but to 
l>e carried out ia » number uf deuiilH nf gri'iiter or less importance. The 

»xmprnbability of .)i)ti.s()n, of all pei>pl(r, pilfering fmin his coiitmipomrii^ 
is very great, and the a priori iirgiiitient in favour of \m authoiship of 
the earlier play coneftpnndingly strong. The theory will therrlerv dc- 

»inand the serious attention of future Jonsun criticB. out in the abtience 
of n fuller and more detailed investigation we het>itatt.> tu endorse unro- 
wefTedly the editor's conclusions. The bibliogmphical sertion i» again 
uusatisfactoiy. Tho Staple can never have been intn-nded for issue «a 
a Hoparate [Kiiiiphlet ; the volume containing it is siniply » folio— 
meaeurt-mcnt has nothing to do vit\\ the question — and. moreover, it 

■ «loeM powem a general title-p&gL-, thuugh tins is often wanting. The 
<ditor has made the same blunders m Dr Aldcn with respect to the 
* wolf's hew! ' and the identity of ' I. B." Some o? the company dJitca 
«re wrong; Lord Strange became Earl of Derby in 1503 not 1594. 

Ben Joiison has not, howt-ver, absorbed the whole energy of the 
Elizabethan scholars of Yale. Or Thoinpfion's monoffniph on the 
GoHtrowtrSf/ between the Piintnux itnd the Stage is a seriou-s pieces of 
work, which the ample discussion of originnl outharities will render of 
real value to student. We would instunce more paiticularlv the 
chapter on l<*gislation, which, though short, offors a clear amf able 
nimmary of very confuKeil and unimtisfiicfcory mak-rials, As a whole, 
kowever, the work \v. not a criticfil history, but an elabomto sfiecial 
{■lending on a given brief and de parti pria. In spite of n mild dis- 
ckinier in the preface, the writrcrs bias appeai-s over and over again iti 
the naive inronfl&juence of his argumentA. and is. indeed, so obvious 

• that it can dit little harm. There are alsM> a few mther raniless errors, 
»nch as the cunfuslun of Oyles Allen, gmunddandloni of the Theatre, 
with Eilwitnl Alleyn, owner of the Fortune and foimder of Dulwioh 
College, and the asc:riptiun of ^4 W lap Jar an Ape Ui the 'theatrical 

I manager' (John .') Lanehiini. Kuitdeni inav also wonder whn the Francis 
I\*trttrch may have been, who mentioned the Ourtain mid the Theatre. 
More at'rious is a frequent want of judgment in handling historical 
evideocc. It is not easy to illustrate this within rea»mable limits, bub 
one iir two cjuies. out of many, may be pointed out. Take for inst&ucc 
the paasngtT where the author is urging Northbrooke's intimate know- 
Iw^ of dramatic conditions. After quoting some reniark-s concerning 
'jllglew, scotfers, jeasters and players,' lie adds; 'Such passages arc 
Bimciont to convince the reader that Northbrooke knew whereof he 
ijwkc.* Yvlon his own showing the writer wan but repeating from his 




Ui 



Reviews 



pr a d e e o wore t)i« commuDplaces uf puritan invective. So again what 
Dr ThnmiiBon calls a. ' charactrriKation of the old intrigii« comedy * is 
far stninger evidLMH* of North bmnke's liimilinrity with thf cliuodes of 
anti-stage pokmica fi-om Tertulliaii onwards, than with the actual plays 
of the time. Another inst«n«> occurs in his nttompt to demoniitnttv 
the G^wth of puritan fe«ling in London, and to discount the repute in 
which men like Alleyn and Ifenslowe were held. The latter wafl electe*! 
vestryinuj) in ltJ07. ' Perhaps.' says our imthor. ' this was due somewhat 
to sigiu of itnproveinent among the at^tors' aiid quotes in support re- 
marks mado by 8towc in 1583. This is frtntftstic. The scutiinont which 
uiitde the i)ari*ihion(frs of St Saviour's estL-fia Hvuslnwe wnx the same a« 
that which made the inhabitants of Finsbury welcome the erection of 
thf Fortune wht-ii they found that th<: phiyers wen; prepared to con- 
tribute handBomwIy to the maintenance of their poor. Rather than 
multiply i nstfincc.-i of this sort we: will add a few wonis u|M>n the general 
merits of the controvers}'. I^r ThoinjwniiH main contention, if we 
understand hira rightly, is that the puriUn attack wjis not only justifit-tl 
by outrageous abuse-s but was, furthermore, motivwl by considerattons 
which we should to-day hold valid. Now the refonners saw one asiiect 
of the question ver\' clearly and their zeal did not tend to nice discnmi- 
uation. If we accept their account we shall have to conclude with Dr 
Thompson that people? froiitienled the plavhouses for no other reason 
than ' to iipplnud with dcligiit the rL-pnwintji.lion of vii;*'.' and ahut that 
the audieucu eonsihled oxdunively ol the debauched ga-llaiu. the dissi- 
pated apprentice, the cutpnrse and the strumpet. The annwiT is 
obvions. Had the nonditinns lioen as here represented, the stage could 
never have produced a body of lil<erature such as the Rlintbethan 
drama, which is nt once an immense arti.stic achievement and Jis n 
whole morttJIy sound. Nor is the basis of the attacic beyond crilicisni. 
Dr Thoiapson wrote truer than he know when hi; de.scribed iho aciuleiaic 
dispute as essentially "the aimie old Puritini question,' The Oxfoid 
controversy was concerned with the application of a verse in Deutero- 
nomy und a Koinun ^inietor'H decreu, and that i^iniilar cunnidcrations 
played no uuimportnut jmrt in tht- purittm attitude ih i-videut from the 
care with which Jonson cuiisulkid Selden as to the relevancy of the 
texts cited. The puritan a[H)!ogiHt may urge that even if the attack 
was exaggerated and unfair the reformem had the interests of morality 
genuinely at heart. It is a sufficient answer, that grasslv liliclhms as 
was the stage »atirc, there were atuong the defenders of the theatre 
men who were honestly fighting the battle of art. This, of course, was 
unintelli^blc to the roformcTs. and our present author's whole mental 
attitude 18 too much like that of the <>ld Puntaus to enable him to 

Othe real meaning of the struggle. He is, for in*:it»nce. constantly 
ing upon thi' ■ lilxTai * spirit of the critics of the stage. He quotta 
Stubbea' opinion that playing ' may be tised. in tymo and place conveni- 
ent, as conducible to example of liJl; and reformation of nianers," und 
commends Milton's view that by a due exercise of authority the stagB 
could be rendered, for recreation and instruction, a supplement to the 



Jievie 



U5 



pwlpit. There is nothing liberal in all this. The i-eformere f^ered to 
tok-mtc the existence of the stage on condition that it wm content to 
serve a purpuw not ita owq. It ng-htly refused life upon such terms. 

W. W. ORKn. 



The PonM of Ahrakam Cowley. EditM bv A. R Wai-LEB (Oftmbridge 
Bnplish Classics). Caiiibridge Uiuversit^- Press. 1905. 8vo. 
' viii + -MJ? pp. 

The Ciitii bridge University IVctw [v, doing a great service to rpadprs 
of English liu-mtiiiv in llm publicjiliui] of this Henee. We have hnvii in 
cunvc'uienl and im^xjirnfiive voiiiines, on giMid pnywr and in excellent 
print, the works uf elii.'isica) English writers iaithfully reprctdnced in the 
fonu of their original publication, with no ultemtion oi" spelling or 

SnnctiiAtion, savt? in the ca-se of evident misprints, and with every 
elAil of tV7)0graph y — iU-rangenient of title-page,s. use of eapitaU ond of 
italiM — carefully preserved. This is the fomi in which powU sliould be 
read, hy those at least to whom the original editions themarlves are 
inaccessible. The present volume is one of the most auueiilnble of 
the series. Cowley 8 poems have not hitherto been available in any 
modem edition except thai of Grosarl. which can liaitUy U^ procured, 
and in any case is vcr}' expensive; and no reader n likely to complain 
thiit tbfy an' wanting in iritefHst. Momover Cowley is eminently one 
whom Cambridge ehould delight to honour, a ^ninne student, a true 
p(>et, and a faithful lover of Ills College and of his University, his ' d«ar 
C-ambridgi'.' The authors represented in this series of English Classic* 
are not all Cambridge men. but Ascham, Crashaw ana Cowley are 
nrnong those who have nlrca^lv appetirwl, and Fletcher and Prior among 
jiboEM-' that are to come. Milton i» perhaps fore.stiLltcd. for Canmi 
rBecching's edition, published by the Oxliird Prtisa, is very much upon 
the mnie linws iia theMc. 

The prcMi-nt voliuiu' of Cuwiey contains all the English poems 
publisheil in the folio of IfiftS, exoopt thoiw; pieccR which are connected 
with th(! prose writings; and it i.i intended to publish in a [;ompnnion 
volume the remainder of the contents in prosR and verse of the folin of 
liifW, tog<!ther with those of (^owlHy's juvL'nilH writings which wen- not 
republi-shed by himeclf in his collected works, and his English plays. 
Id justice to the author it must be remendiered that he protests 
strongly in bis Preface against the republication of the rej(x:te<t juvenile 
po^ms, •which though they were then Wiked upon as commL-ndable 
cxtrnvagances in a Buy (men setting a value uinjci any kind of b-uit 
before the usual season of it), yet 1 would be luth Uy bu bound now 
t<> read them all ovtr niy stdf. and tburc-fore should d« ill to expect that 
patience from others'; and he laments the common fortune of almost 
all poets, whose works, commonly printed after their deaths, nre stuffed 



i4e 



Reviews 



out with wnrtliless adfiitions. ' whether this pnx^ed frnni thi- imliscrt-tion 
of thvir Frit-iidit, who thick a vast hvup ofStoncs or Rubbish a iKtter 
Munuin^Qt than a little Tomb of Marble, or bv' the iinworthv jivarice of 
some Stationers, who aro coutent to dimioish the mluc of the Author, 
so may tht^y eiicr«ii»f the jiricK of the Book.* 

If We hfivo any fault to find with Ih* arranj,'i'mtfnt of this wiition. it 
in that il wnM imt found jHMtitiblt! to inclntk- in the mmt- volume with 
these poema the IHfcourse concerning the GovtrnmeKt of Oliver Cromwell 
and the iSevercit Diacoarsex hy way of JCumtys in Verse and Prose, which 
fomi the rt^niiiinder of the l^HH faWct, and in that caae the juvenile 
poems and the plays might perhaps have been left to take care of 
thi;rasolvt»s. 

Wi- niiist Hot be- iingraU'fuI. however. The volume before us is a 
inoHl chaniiiiig one, aiul it muy he hoped that it will do something Co 
vindicate the fame of one who has been somewhat unEairly trL-at*?d by 
critic!). -lnhnHon's Life of Cowley ia a brilliant piee^ of criticism, and 
can httrdly in- accused of unfaimiv^f. He has collccteti a miMt amusing 
liat of fxaniplfif to illustrate thH vices of a jianieidar st'liiml of prM?try, 
These exnniph'K are nhirHy taken from Cowley; but tht-y an' acc«m- 
piinit'd by abundiint acknowledgment of his excolli'noieH hm ii poet, and 
the Life concludes with this appreciation : ' It may be dftimied without 
any encomia.Htie «nthu8iF«m,..eliiit he was the first who imparted to 
English numbers the enthusiasm of the greater ode and the gaiety of 
the lest; that he was oipially (jualified for sprightly sallies and for lofty 
flights; that he wjw auniiig those who freed tmnslalion fnmi servility, 
and inKtewl nf following lii« author at m disUuiee. walked by his nide ; 
and that if he left vcraitindion yet impn)vablr, he loll Iiki.-wisc lr<tm 
time to time «uch s[>ecinieii» of exeellence as enabled succeeding pi»eta 
to improve it." This is much, especially fr«)m Juhoson : but succeeding 
writers have iiHoally drawn from the st«ck of r)untation!i :iccnmulated b^- 
Johnaui without repro<iucing hia qualifications or his favourable appreci- 
ation, and have also tailed CO notice that the examples are nearly at! 
dmwn from one section of Cowley's work, The Mistress, with regard 
to which he himself lets lis know that it i.-^ not to be regarded as 
expressing mnch genuine feeling. His love-poems are, he says, to be 
regarded as a kimlof formality. like that of the pilgrimage to Mecca to 
wnieh some Mahomotanw are bound by their onler; and we haw 
independt-nt testimony that hu was not much given to love-affaira. in 
spite of hif huuioroun Vfiroin'ele. Naturally then it is in thiM depart- 
ment of his work that he is niusi ajit to indulge in frigid cr»iceit» and 
^intaiitie eumparisutis. thai ' Concordia dixcoi-s' which Addiinun calls 
'mixed wit,' and it is here that he ia most niarkitlly under the influence 
of l)orme. Indewl many of the poems in Tlie Mistj-ess might well have 
been written by Donne himself, f lie given Heaii for examplo: 

1 wonder wliut theses liovcm inniui, wliii iwy, 

Tlicy tinve givcti llioir Jlearta airay. 

Same good kind Lwvor tell aio how; 
For minu is but u Torinciit to mo now: 



JRevietvs 



147 



<thc pocra from whicfa Jobasoo t&k<?£ his quotation to show that a 
lover'ti heart is a hand ^nado). and that entitled The SotU, beginning 
■ Some dull Philosopher, when he hears me my.' 

Jiuftice has hRTcily hfien done in nio<lem timps to Cowley's Pinilaric 
Odea The actual repri.>ductiona of Pindar are not colled by the author 
translations; he makes it not so much his aim ' to let the Beatler know 
prc-cisftly what he Rpoke, as what was his vray an*! manner of speaking,* 
and thongh Cowley has nu doubt aonietiines introduced oraaments such 
ns Pindar could not hnvo uscd.yot at times he has been hAppy in his 
addittontt, as at tht- bi-giiuiing of tlu.- sixth stanza of the iSi-mwin odt. 

How curly hiu jvuD); ChroDiiiis U^uu 
The Race uf Virtue, onJ liow nwiftly nut. 

And Ixtni tbe iiulilv Prixc u<vui', 
Wfailfit other joiiths jut nt the burricre stAjr! 

It 18 true thai by gettiuc rid of thi* obscurity of connexion he haa to 
some extent atten^a Pindar's ' way and uiuuucr of speaking,' but after 
all, the lucidity of Cowlcy'» Pindarics is n fault that may well be 
imntuued. It Is uuuiifi^stty luifair lo bUmi' him fur not refjroaiicing the 
str^'phe and antiistrophe, when Milton is nut blamed for deliberately 
rttjocting that form in llie chonises of Sumsoii Affoniste», a» 'not 
eascntial to the Poem and therefore not material.' 

Finally, it may boldly be said that the Ain'rfei* has been absurdly 
underrated. It is an uDfiniehed work and therefore cannot be judged 
as a whole, and the merit of what we have is very unequal ; but many 
[►ortions of it rise w a remarkably high l«vel of excellence: Milton was 
ulHl(KibT4.-dly iiirtu(?uc(?d by it to sunie extent, ami Dryden far more, 
indeed it wh« Cowley mtKer than Wniler or Uenhmn wtio supplied the 
model of Drydeti'-H herruc cuiij)!*;!, and that not onU' as n-gards the 
iMxasional utte of the alexandrine, aa exemplified in the DavideU, or of 
the triplet, as in Cowley's latest work, but still more in the general 
stnictnre and flow of the verso. We can hardly rejul any part of the 
Davideis without being reminded of Drydi'n. Take ibis passage from 
near the beginning: 

This knew tlic Tjnint, nud tliln unefkil thoujtht, 
llitt n'miiLil^fL ititnd to hi^atlh n.nA tem)>er broughL 
IIq uk) kind vuws lo David did rvneir. 
Swiji* ■•iiiwuiicy, and lutwtnt his ".ith fur triip. 
A ){Mi£ml jov nt thin ulnd iivwh ii]i|Hvtr'd, 
For Diktid nil niGU lovd, mid -Snul ctiey Trat'iL 
Angela Joid Men did Pniice And David love, 
Uut Hall did neither Him nor Tbat ajiprove ; 
Fmru lunti'h ^^iwiiiuiit fierce AlamiH toey IaIu, 
And Quiet lu-m ilix« then^ bow HtisiiiLiss make. 

Betieuth tJie Hilixit i^hniulx^rs of Lint cuiti, 
niiLTt) th« Sau'x fruitful boAiiiM giv« nictabi birth, 

Beui-Hth the deiis wb<w uiiH«tcht TemjietCs Ijre, 
And inraiit Winda their t«Dder Voycw tv;, 
Beniwth Che mighty Oceatid wi^lth}* Cavm, 
Benwtli th' r^tnninl Kmintnlii of nil Wavm, 



148 ^^^^^^ Jieviett/s 

WHtore tlwiir nint Court ib< Mother- wutc re kt«i>, 
And iiiittintiirli'<l lir Mikmik in mI«dcv tilwji, 
Tberc in a plm-u, Jvcjii, wundroua doeji b«low. 
Which gRDuitie Night and Honour doM o'erflow, &c 

Here we have Drydcn's metre and Dryden's rKj-thm witicipated. both 
in the mort* raMuliHr nnd in tht* more imaginative style, and Dr^'dcn 
was probably indobtod to Cowley (' the darling of my youth ') more 
deeply than in his latyr att- he was ([lute aware, Cowley w feet wa* 
a niMi of essentially wholesome tastes, with a natural to-ndcn<.'y to 
simplicity and lucidity, who at a «;rtain iiprioil contracted the vicum of 
the 90-cttlled * metaphysical ' style, but aJmwt wholly tihwk them off 
both in his verse and his prose before the end of his eareer. No other 
poet serves so well as a linlt lM'twe*'n the first and second halves of the 
seventeenth centnry in English literatun*. 

To return l-n the volimir with wKieh the Cambridge Press has 
prcaent«^^ the public, we will conclude by saying that so Jar as we have 
been able to compare it with the original editions it is absolutely 
accurate, and that it nnist be a pleasure to every lover of Cowlej' who 
does nut possess those original editions, to be brought nt^^irer to hix 
author by thin scholarly rcpnHl notion. 

0. C. Macaui-av. 



* 



Tlie Poems of John KmUs. YA\U:<\ with an Introduction and Notes by 
E. DE Sf.iJNrx>UHT. London: Methnen and Co., 1905. Kvo. 
lxviii + 613 pp. 

Mr de S^lincourts edition of Keut» marks an advance in ttuifc 
scientific and faithful treatment of an anthor'» te.vt which is novr 
happily beeouiiiig acclimatised in England. It i» vn K'^^l ii> t^me wa^'s 
that wo wish it wore it pert^ct edition in all respictH, out the failings to 
whirh we dL-«irc to dniw the editor's attention can easily he remedied in 
the Heuuntl edition that is* certain to !«• called for. 

We an.' glad to note that Mr de S^lincourt has not followed 
Mr Bnxton tonnan 'in altering thp spelling of certain words .so as 
to make them lit in with what appeal's to be Keats's usual form.' Such 
a procedure is at variance with thai, absolute fitlelity to an author'a text 
which should be an editor's Hi-st rule. Why this cra^e for uniformity ? 
No writer sets forth with a cast-iron rule as to commas and pa«t parti- 
ciples: he often varies his views from year to year; there mav be. nay, 
often is. a historic interest In iiutiL-ing his inconsistoncy, and tVie iricon- 
siiittmcy itself may be a part of an author's idiiwyncrasy which ib is 
desirable to retain. Il is all very well to jKistulate. as a recent critic 
ha& done, that tspelling and punctuation are merely matters which the 
printer's reader ha« xeltlecl for the author from the days of Elizabeth 
jusqu'd nos jours, but, in the absence of any direct evidence to the con- 
trary, ve must as»ume that the author, or hia authorised ftiends. 




Re^-iews 



149 



«>rx*e«3teH hi 



proofe, ftnd. whether he is careless or not, whether he 






K 



own _ 

hiniEwlf upon nn individim] niethml or is onntein|)tiimiK in thu 

"yi-fcti^r of such 'sma' things,' there is no justificntion for tampering with 

hia t.«xt. An editor may set forth his pereonal emendntioni* to the 

''"*iti of his publiahera' puticiicr in fiKit-iioU-w. where the ingenioiiB will 

ttMv^yr them, b«t let UM have the text as it was oricinully printed, nnd 

*" fc-h«l hiiw Diir views. Iti thiH renjjeet, tus we hiLVc siud. MrdeSeliiicoiirt 

t» *>«j "bw conjfratiiliilbd umm his deeisiuii tu preiwiit the exact text of the 

.tha-ip^a volumet^ published during Ktsate'i* lifetime. 

Tile Note's t« the ixicimH ennstitiite a very valuable t'Diiinientar}' ; 

\y are rightly printed after the text, ftnd they MV really tin aid to A 

'-**~ca thorough undemt:mding nf the poet's works. Mr de Selineourt 

ix^if^ht Hiul a fine tiu«te: he i.') also, »u far a^ we have been able Co 

h'lK references, accurate : a i^uality that is not always combined with 

*-* "T^ inutiiig criticism. 

A^'e fail to see why ihesecoud edition of the Po4i(Awwi(((W ((«(/ Fu^itim 

'^^*>M, contAining the chaiflotcristic sonnet to Chatteiton and other 

»^».s whieh Mr de Selincourt reganin iis " weak.' Khoiild lie printeil in 

■■Her tj-pe than the first section. In a volume of tielectionn we can 

'"*<icrn*tan«l an ediuir's ptnTsonal pn^riTenei-s hiring allowed Pidl play, hut 

"'**• iu n pnwlically comjilete edition. We gather frtnn the Preface that 

«ie Seitncourt would willingly have left out these fugitive verses, but 

j' '^^•.rely cannot be admitted that an editor should have the power to 

"*^'*^i«le the c*non of an author's writings by any other rule ilian that of 

'***i>»«?nticity. 

, A^V ho[H- Mr dt; S^lincourt will, in a future edition, facilitate cross* 

'Y.^* »"«nce between text and notes by giring in the latter eome indication 

|. ^-l^t- tiage in the text to which they refer. As it is, beyond a few hoad- 

"''^•-"^»«, trie reader has no help, for not a single note is paged ; he has to 

J ****** up the title of the poem in the index, if he wishes to check the 

|^*'^t by the notes, and if he wishas to iind the not^es to any poem or 

If** ■"* *^g^ he has to turn over page after [Mige until he nligliLs upon what 

l"^ "^^'■nnt*. And we should have been grateful to him if he had given on 

' ** ^■etionat half-titles type nwodiiclioiis of the original title-jwges, 

, tiuvoiMi theHo oomplaintH tliere is little to be saifl but ]>raiae: the 
''f_**^*»iological tnblen are exci^llent, the gloi«ai;j' of Keats's langUf^e will 
. * *-Xiofit um>ful, the volutiie hiu* a .luRicient index and the Introcmctiori 
'•-*» able exposition of the charax^teristic qualities of Keats. 

A. R. WALij:n. 



M. L R. 



10 



ISO 



Jiev-iew$ 



Schillrfs Samtiich Werk-e, Sakiilur-AiisgaW in Itf Banden. Heraua- 
gcgebcii vonE. voNdkkHkllen. Stnttgarl: Cotta.1904. I90ii. Kvn. 

ScJiilter: Sein Leben vnd seine Werke. Von Kari, Beruek. In swei 
BandeiL Krater Baiid. Munich: Bock, 1(K}6. vtu + <»3U pp. m 

Tlie 4Miitributiuii!« wliicti the 'Schiller ywar' 1905 Iws iniide to our 

knowled^ and uiidoi"Btaiiding of the poet, are, as it is, we bclievt. 

generally .idmittod, diKap[H)inting'. Thti exlravag»nc«K which i>opuliir 

enthusiasm indulged in, at the centenary of Scmllers birth, in 1855», 

have, it is true, been avoided, and even the extreme enthimiasts have 

utteinpted. in a sober spirit, to view their idol sub specie etemi ; but the 

FWCHent year htvs given us no work on Schiller to be compare*! with 

' Tonuwiphftk's Sdi-iuer in teinem VerhiUtnisse tur Wissenacnnfi, which 

appeared in 1862, and it ha^ uuL even brought us. what nuiild have 

outweighed all the othw Schiller literature of the your, tho two (Hin- 

cluding volmut!* oi Minor's biography. 

Th« beat and most furthering criticism inspired by the occasion has 
found its way into the special numbers of the leamiKl prritMlicaK such 
as the Stiiiheri sur veryleichetideii LiteraUirtfeschichtif, fCuphnrion and, 
we may add. the lievtie (fermaniiju^. Hut the nature of this criticism 
in in itwilf signiHcjint. It, avoids, for tho most part, the wider iHsties, 
and larger pi-obleins, and conte^nti itself with smull and sharply defined 
provinces of 'Schiller philology'; it is obviously opportune, that is to 
say. promptud rather by the calendar than by inner iinpulae or con- 
viction — thu naiult of a few days or. it may be, w«i?ks of steady applica- 
tion. And it cannot be urged in defence that the larger probli:mH of 
jhiller's life and work have nil been nlrewlv solveii. On the contrary, 
lany of them have not even been faced. There is not one of Schiller's 
ri|R>r dramas, for instance, which has been investigated and discuttsod 
in uU itti iiiauifold aspects, including its relations bo the dramatic 
priictice of its time; and we huve only to mm to Walzcl's admirable 
mtrodurtion to th« vohimu of SchilU;r'n philiwophif ^vritings in ihu new 
C'otta t-dilion, to ueu what has »tlll to bu done in thiu Beld. 

In all that pfrtrainw to prtKluction—type. ]Mipc:r, binding— a» well as 
cheapness, this new edition of the piM't's Collected Works is exemphir^-. 
The text, too, an it in almrat needless to say, is reprtfduced with 
scrupulous care, and will satisty' all pmctitnl nends, .lUhough we .should 
have liked to see, even at the expense of an additional volume, greater 
completeness. We miss, for instance, a complete reprint of the parts 
of Prm Carlos that appeared in the Thaliu. as well us of the prose 
version — all of thoiii essiMitial documents for the underslundmg uf the 
most critical epoch in t^billor's w^recr a* * dramatist. Again, it is 
unfortunate that the new etiition should nut liave repaired an umiiuion 
which is cmuuon to every previous edition, by reprintiug, if only in an 
appendix, the all-important KnUiunhnefe to Ktlnier. The amingfimeut 
of tho Gedichte in Volume I. according to a plan of Schiller's own. has 
been suHiciently commented upon in the (Jemian prej*s. where it has 
found few defendere. The tiuditinnnt grouping, due, in the first 



h. 




Jleviews 



151 



iiwWnce, to KOrnor, is atlmittedly imsatisfnctorj-, but if it must be 

deported from at all id a mudcm udition, tfae chimge. it seems to us, 

sliould be in the direction of a more strictly chronologiotl arrangement. 

or the various iiitnuluctioiis ti» tlm Hujwinitc vi)lmni»), nil urn good luid 

floiue, Hspocially ihm by Walzfl iilrcady rt'fcnvd u», m»l that by Koslcr 

Ui thu tmnalattunH, aru adminiblc. Hul with thi; results butbrv uh of 

thiK kind of 'tMiitiug'in England, that in tu Hay. t>f inviting distlujjuished 

Critics and sctiolarH to write introductions to familiar cla5sic» in order to 

^ve the reprint additional commercial value, we can nnly say tliat we 

t^gret to see the custom being adopted in Uennany. A standard edition 

of a great classical writer shoiiM be left to speak for itself. 

Tne Ccnttnar)' of 11)05 has been the occasion of iwveral new lived 
of Schiller, and amongst these Karl Berger's deserves special notice. 
It is a carefully compiled and judiciously written book, and, if tho 
s«cun(l volume beara out tht- proume of the first, it may be recom- 
xxiended to the student as, in stereotype phnwo, 'thv best Life of Schiller 
of moderate coinpa.s».' But it is jmssiblt! tti admit so much and yet 
»"vgret that the work has not a more ob%nous raison d'etre than merely 
t^^j provide the pul>lishe.rcif the admirable l.i/e of Goethe by IJielsphowsky 
^^itb u companion book on SchilU-r. Berger has little or nothing of 
i »jiportance to say about Hchiller that has not already been said, 
^uiu, unlike Biol-tchowgky, his way of expressing himself is not original 
^^nuugh to jUFitify the rei^etitiuu : his criticism is, tniin the tntditiunul 
T>oint "if \"icw, ' sound,' but wanting in any kind of diittinction The 
1 Csook '» an (-xi-.t-ilent handbook of mtiiiI wit alreiulv know and have been 
'^.aught to think about Scliiller, but little mure. It ih, however, the la^t 
•x^-olume of a life of Schiller, as of Ooethe, not the first that is the real 
touchstone of its value, and we prefer to suspend further judgment 
vjntil we have seen what Dr Berger has still to say. 

The biscination which Schiller's genius has alwayi< had for the 

■metapliyaicttl tyjie of mind and the tendency to judge him frum a 

»jhiluHupbieal^wt> use Ihe word in il.s widest accoptauce— point of view, 

rias been uafortuimte ; for it kee|M away from Schiller ju»l the kind 

■«jf critic who might be best able tu give us the definitive biogni]>hy of 

f^hiller wc still await. 'Kine ScliillerbiogrBphie.' wrote a distinguirihi-d 

«iritic of Berger'H volume llie other day, ' muai patheti»eh sein.' Now 

^hat, it seems to us, is ju«t the last thing n Lite of Schiller ought to 

\iv. C>ne might as well say, a Life of Heme must be cynical, of Lenail 

^ji'!«iiuialric. For the idenl Schitler-biographer we look, not lo the 

Siietaphysician with leanings towards Schifleriaii ' FathiMi,' but lo a 

fccholar who baa grown up under Goethe's iufluence, and ia ablu to 

Tegard Schiller's life and work as Ooethe regarded theiu. that is to 

«9uy, with that henlthy nulurali&m and i-es[>ect lor the concrete tact, 

which di«linguislu'd all Goethe's jud^iiienls of men and boukc. It is 

this spirit that appeaU lo us in Brahin's fmgmentai^' biography of 

Schiller, although bnihrii's mind was too divided when he wrote it for 

lutu to give us of his be^t ; it is aUo the unmetaphyoical attitude which 

inufces rlarnack's Scliiller — wanting as it Is in the essential touch of 

10— S 



162 



iKevteaw 



sympAthy for the poet^-no stimulating Hiid KUggc«tiv(>. On th(* other 
hand, tht- nii-laphysical and " pathetic ' extitinw is u» bt- si'L*n in 
ICilhtictiumn's new book on Schiller (Munich : Beck); and w« art* afraid 
Beiver. too. aws his la-ro Injiii a similar pfiint of view. Like Kiihnrninnn, 
he IB BO intent upon jiiHtifying his hero to the twentieth rentun' that, 
even in this finit volume, h*.- failit to do justice to that infinitrcly gnrater 
SehilltT of the eighteenth eeuturj*, who gave voire, as no other of his 
contemporaries, to the humanism of the claaaic age. 

J. 0. HtmERTSiiN. 



heinriclt Heine* Verhiiltitin su Lord Byron. Vod Felix MKU;KlfiK 
{t,itfm}-liiitoriache F(>r«e''M«^#ff, horaiisgegoWn von J, SfHioK und 
M. vos \VAi,mtERfJ. XXVII." Heft). Berlin: E. FcIIkt, 1903. 8vo. 
iv + 169 pp. 

Die A it/nahviF Ltn-d Iti/runit iti Deulnchliiud iivd sein Eiitfius* au/ den 
juiiffet) Heine. Vuii WlUiKLM Ochsexhkin. {Uiiterxuckun/jefi 
tur neuerrn Sprach- und LilertUurijesGhichtet herausgegeben von 
O. F. Waij!ET„ VI. Heft.) Bi-m: A. Francke, 11W5. 8vo. 
x + 229 pp. 

These two books arc the first atttitnpUt l» dttermine accurately the ■ 
extent of Byron's influence upon Heine. The Uisk has not been eoisv, ■ 
and the t-oncliiKiouH »if the critics are widely at variamv, Melrhiur is 
convinctnl that the givater [tart nf the re.iemblance between the two 
uocLh is the result of posing and iiiiiUition on the ]»art of Heine, while 
Ochnenbein argues on the whole for the German poet's independence 
and oi'igiimlity : he accepts as substantially correct Heine's own vrords. 
'wir mOgen uas in manchen Dingen geglichen habon.' Unfortutiaudy, 
Mclchiurs book, tn addition to containing many errora uf detail, la 
vitiated by an ignorance or disregard uf the fiicturs in Heine"* |*iye]n>- 
logiukl growth, by want oi" syinputliy auil a manifest wish to nscriU* the 
nuwt triHiiig euincideuces to literary imitation, coiiM-'ioiw or uncon-scionn. 
His M'cond chapter deaU fully with Hcine'^ tmnslulions from Byron, j 
To the inataiiceK of fiiW rendering on ]>. <iS HhuuK! bt^ adde<l htanfrrd I 
218. The two pitssages considm-ed incorrect by Melchior (p. 70) ar«; 
free tran»lat.ion.s but by no lue^nM wrong, and as to the niotio from 
Christabei, it is not Heine but his critic who has inietaken the meaning 
of the Hlnglish. Something innre might have Kieeii said about Heine's 
language in these early translations. It is inlcrcstinc to note, for 
example, that Heine employs trivial expresHiuiis where B\Tim has none 
{Manj'tvd l(, 112. KiO, 150, 171); in the reiwtition of words and phrases 
the Gerumn poet gues much furtiier timii his linglish origiiuil. and the 
introduction of diminutives like ' MagdleiQ,' 'Thmnlein," ' Stemlein,' 
' Hiiiidclieii.' ' MUudchen.' ' Girsichtchen," where Bymn htis no siigigestinn 
of them, is n revereion to the niaiinerism of Heme's early ]x?nnd. In 
his thini chapter Melchior diacuMHi.'M imrallels in the poems of the two 



I 




Rpviewi 



153 



aiilhora. but with regard to most of ihinii o|jmioii must vary. 
indt-bleilDeiiS, for iii»tuiic(.% 'ff Scln'htf H'lVpe meiver Leiden to I-ar 



The 

ire thee 

HV//, urof Trtiunibilfi IIJ ami IV to Brmn's Dimm i — v and v[, nr of 

-^'i/r. Intennetto GO to Dream til. Is very doubtful. A lH;ttfi- case can 

ha uiade out for Ifream vii liivving inHiiennod the ikipiii Rntciijf, and 

Melchior's comparieon of Uehatzar with BjTon's poem on the same 

tlifint- is itititriH^tive, The source of Left ii' thine Wdun' nn meine Wmig' 

in Bynm's To Cmyjtine (1) — 17) has bc-n rij^hlly pyintwl out, but there 

iw no corinw-tion betwei-ii Heind-elir I3I mid Childe Har*ild III. 91. 

Mflchior iipgiie.« for a eonsidoinbl-^ Hyn-nic inHiienct.- on Heiiio's sc«- 

J>oetrv. The idea of the wind beiiijf liilWd to sk-ep bv tlie wal«?r 

< ^Vntirw I. 2 and 4) in certainly Byron ic ; a nearer ]»aralloI than 

t-liu one quot^rd i« .S'ifrt/* of Cunntii IX. A)^in, the roiiijiarison of the 

tfcettving i>f the waves with that of the human breast recalls Ilvrv>n 

K.^UtttzftM /or Music), vihn may have derived it frnm Ossiar : |jer}iaps 

tleiiic may have evi^n tlniwn dinvtlv frnm Ossian (c]i. Nordsee i. 6 

■with Fiiiijni i. 6: 'In their midst the iting stwjd silent. His strugLding 

fcl»<mjjht« upheaving iti his breast Lik<^ waves on a mountain loch K«eh 

*.»ne in foam and noary' etc.). Melchior's remarks about the cuiuie 

*"hynips in both poets are valuable and might well be extended. 

OchsenbeiftB oouk is a nuicli sounder ami uior.) aii-oltiUy cuusidert'd 

JaitfC of work. He preparus the- jjround for his iuvestipition by dis- 

<!:ii;wsing in two pn-liuiinary i-haptrrs ' Die Aiifimhiiie Bynias in DeiitHch- 

l«nd * and ' Heijies Vei-haltnis zu Byron jm Urtuile i\or Krittk.' In the 

SVriiier of theae he considers with great insight and fullnes.ei the maaoer 

in whieh liyron's personality, his poetical ^nlts ami his type of hero 

ijitliienced the GeniiunB; in the latter he brings toyetlier the o])imon8 

<:>f Heine's PonteiniK mines and of lalur erities on the ijiiet^tion of tho 

^jt-'niian poi'lK iudL'btedncHH to Byron. The thin! chupter m an 

■«i«xeeUeut aeeount itf Heine's pfi«oiial attitude to Byron. At fii'st he 

^Ka» enthusiastic; veryHoon. however, he lout tasU" for the KngliMhiimn'o 

~vriirk and. Liter still, grew c|uite indiJfHrent to it. The [leriod in which 

Kyron'w inHuem-ewnH strongest, is 1K20 to 1822. in the fourth chapter, 

Oi-hs«'iibein dist!iissi-s pamllelR between Heine"!* lyrii'S and Bynin's iioelrv, 

•iud amves at the Conclusion that Bvi'oii's iuHiience uu the lyric» is 

Mljght and .to fugitive «* to dely delection : 'der I'inzige Kindii-s." ist oin 

(iiiKoiitrolUerbaies. jedfufiilla sL-hr Ilmbl-s EtnniLi>elien aeines Pessimismus 

in dit' SlintuiiingeD Heint-Jt.' Oeh>«eubuin iiiHists on the influence of the 

Mrrtiiit ujiou HatcUff and of Darkness wyntn Giitterdiimmeriaig ; other 

]iaialli-U i]MoU!d on p. 190 (Dun Juan II. ^4 witli Anfmt: ubei- Poleti 

\il, IfiO and Staiium to Att^tiutu with Heiinkehr 87), seetn to me vorj' 

<luubtful. CX^h^^?nllHin dot-s not diHCiisH Hi'inf's wia-iioi^iiy at all : he 

■^ould almost close the peritKl of IJynm's inflnence with the year 1822. 

But even if Heiuf had ceased to read liyi'on much atler that time, the 

■ntnsct sceDCs biul made a deep impression upon him ; be speaks of them 

in the IJartfeUe (in. 57). ancl it seems to me that they have in many 

cuHM suggested the opening line* of Heine's sea-lyrics in the name way 



154 



Reviews 



as the VuIkitliL'tl ftup|j)iLi] him with the 'situation' of his love-lyrics. 
Two paialick may mrvc aK uxamplcM : 

f^ow Mnloi tliv min 

Our iiiicloiitliiil Itinn- cf living light 

O'er till' liuitlicil iluc)! the ji-ltow Ixvuii lie 

tbruwii 
Oilds tlie sreen wave tUiil irDiiililet (to 

it glowa. <Cl>rar o/ ilintma.) 



Die ^IthcDcl rot« .Stitinr »U'igt 
Hiiiftli in''* wnrit JtiiMtaiirnKlis 
^ilbLTKruur Wdtnieer. 

(A'wtAn I, S.) 



And thn mtdiiight tucH>ti in w-uuviug 
Hi»r 1iri([ht ctwuii it'(^ tlie ilwii. 



Dot Moiid 
t?l>nntt.nihlt (Ikh ((tHiic ^iMr 
Broiwii Streirw luit ^Iikdiem 
Glatisa (-\'ao4f<*> ii, 71.) 



In fjtch case Heine hfw more eolotir. (_>iie imisl remember, bji. ilmr he 
<lid not sing of the sea as an imilator. but nnly iftor he huii lijinseir 
become aix|i«iiiited with ite beauty miij clmriu. The iufluence of Byron 
is not more than n rcminiwceneo, an uiitoiiseious Miiggestiun ; ainJ in i.he 
lovu-[>ot;uiM it is burdiv anylhiiif' vise. On the whole, Ochseiibfin's 
ctmcliifiiotiK Kiv ac;cL']tta\)]e, uiul hi)i Miudy in lui im|)ortiLnt step towants 
the HeUleineiit uf what haa lung been a vexed qile«tion. 



Atheniieum. Kine Zeitschrift von A. W. .Sr;Hl-Kt;Ki. unci Fb. 8ci[i.&i_:i!:u 
Neu horausgegeheii von F. BaaDER. {JJas Mtuseiim. hcmusgegeben 
von H. Lamjshkhu, iv. Bd.) Berlin: Fan-Veriag, ohnc Jahr 
2flO pp. 8vo. 

•Iiiliob Minor hat nich vor kurzem iu der Deutechen Lita-atwrseituag 
mit Kntaehiedeiiheit gegon die modonie Leidensehalt der Neudnieke 
uewatiilt. ; ohm- ihiii mibedingt recht zu geben, inuaa man zUKeatehen. 
iliuii» Knlle wie iWr vui-liegvnde vuui t*bol siiid Gewiss ist diu Atiie- 
naeani eine dcr wiahtig»ten Qiiellen ftir unuere Krkenntnis derjcnigen 
Tendenisen, die die detitsche Lit^'mtur umgeschiUTeii hahen : uber eben 
dcHhalh verliuigt tliiH Werk vnn dem Gmeuerer mehr Kmst unci inehr 
Wisseii nlfi liiuuler Iw'sitzl.. 

Aul' vieU-rlei Wfitw kt*nnte xim UnternehraenglUuken. Man kouiite 
WDo wi8seii!*eh(vftliehe iind komnientierte Ausgabe voranstalten. wie wir 
sie z, B. von A. W. Sfhiegfia Berhner Vurlesungen iu nuL-^twi-gtltiger 
Weise besitzen ; uciier man konnle fttr das grtfesere Publikiini eiut> 
'SchauNtmiuUing' veranstaltrun, wie die MuHeeo sie auslegen. Aber 
gleich die Kinleituiig ecigt da^ss wir keins vou bei<teu erwiirtwu diirferi : 
ne ist fUr eine wi!^l.■n^eha^liche Aiit'gabc zu fln«h und phraM.>Qhaft. ftir 
eine jwpiilarv selat ttie zu viel voraiw nml hiilt nich zii sehr ini Allgt^- 
meinen. V)k- Auswahl sellist deckt der iJer»u«>gfber mit dem Sdilag- 
wort ' subjektiv.' und frpilich muss sie anbjectiv sein ; aber ein genauer 
ICenaer hutt« doch uud«rs gewahlt. wenu wir selbet nicht mit L. Geigitr 
(in der Bmlage riir J/iliicA«Ref' Aftgemeinen Zeitvitg. I. Oktober. l^Oo) 
die Aiifnahme dergrOsseren Aufsatze ladeln wolk'n,die bercits Minor in 



RevieiEs 



155 



<iu 



■^f. jS^JilegeU Juffetidxchnften noii hemnsgogcbon hat. Geigtr hat auch 

**cH<»»-i Hitr Obi-rniichlichk^it uikI l^nKiivci-liiasigkeit dor Aiinierknngcn 

***"*** i «:j»iei», «lio dureh oin iirtjeriichfs Vi-i>ulioii citT Driielterti (wodiirch 

SS»?it»'nvonrcia»! fa«t iiit; Mtinimc-ii) iind liurt-h Dnifkfehk'r wie 

*iitog<w' (S. 280) nwh imbraui^hUirer wenlen. 

"^^'as bleiht iibrig t Kino hilliwh aimgpstiattetc Rliit«nlem* vim 

'^■*»a*4itii*<;hen Kinfiillen imiJ Ci«dankt'n ; nbHr von duiii BlUlenstatib 

^<*W«*Jteii wir des Staubea niehr ale der Blliten in Her Han<l I 



ErCHABD M. XlEYEB. 

ordanta delle Opert ftnliane m Prosa t <M (■aMcnwtr di l)nnt« 
AU^ftieri. PubDlicata per la S^Kjieta Dantoara di Carobriclge, 
Muxsachiiaetts, a mm fli E. H. SnKi.]wiN coll' tiiulo di A. C WHrTB. 
Ox6:)rd: nella Stampfrin doll' UiiivorsitA, VJOS. Hoy. 8vo, 740 pp. 



w 

^BEB* •S^Tt-ntcen yearn agit the Cambridge? Dante Society in AraeriM 

i**^^ Fn>r«w(ir Fay'a Cwicurdtmce tif tke Ihmtia Contmediii, a work 

l; *-^:ih, in apite of certain defect« of arrangement, enjoys a df'itervedly 

- ^5" S^*. n.iputatjoM, and has bticomc an almitst indisponsable romp«niftn 

^■^L^ ■^jverj" sorious etudeiit of Darite. We have iiuw to oongmtulatc 

^Ech^^ RaiiK^ Socioty on the pii bl iwitiun of anuthar munu lut^ntal work "f 

^k- *^^*x.-ncL- in till- »hiipL' of tliu pn-ML-nt Conconlanw of the Jtatian Pnwf; 

y;^ *~^*^fc8 and of the Camoniere of Dauty. lu the ciww of a jHit-'iu like tlie 

(jj --J^*^"" Comiuedia the prefMiratlon of a concordance is a compnmbively 

^^^^^J|jIb Dintter HO lar as rognnls reforencos. For this pnrpoae any 

f^ « _ -^nnO' edition will serve. But whoi-o a prosi* work is concorned the 
2^- ^^^^ilion of the reforonces becomes n serious matter, e»i>oei«lly wht^n 
•j^^*"*:f http|M;tis U» be no recognised »tuiidiml t^lilioii, "When the pre- 
Ij. _ *~"^aiion of thi« eoneoi-danee of Danif's Italian prtisc works was fii'at 
jj-'^SSTiin, under the atinpire-^ of i^-ofeasor Chnrlpn Khot Norton, this 
Y^^ " 'ieiilly had Uj be faeeii by the couipilerst. Fortunately, In-fore the 
tfc *-^~'* *"** ^'*' '**'' advanned, the vefeixini^e problem was solved by the 
,^^* ^^zslicntion of the Oxfonl Diinte. in whieh the whnlt- nf Dante'H works 
j~J^^*^ uicluded. with the linvp both <tf pj^one and of poelieal pieces 
fcr^*rnbon?d ihiimghoiit. while the poems of the Cnmoniere are for the 
ttiuio consecutively numbered. Thi» vobimu. of which u third edition 

Hlfindard 

America, 

naturally adopted ati the IkuIh of the new eoncordjuice. The 

*»uenw (.•*'» veuienco of the Oxfoi-d Dante for the pnrpiwes of reference 



I 



_^-*^ published a year ago, and which has been accepted as the 
Jj*'*-tion of iMote on the t^ontineiit, as well a» in England and 



J**ty Iw realised at a ulance by any one who eon.HultM the Enciclapedm 

^'-*.ntv»ca of the late Dr JScartarzini. The references to I>antcw prose 

"*'*nting8 in that work are to variouH editions arbitrarily selected by the 

*^*^itor, while ju the caac of the Canzoni^e he is obliged to have recourse 

^^ the clumsy expedient of quoting the first line of each p»>em referreil 

^'- .S*-*-ing then how giY-j>tly the compilers of this ciUH-ordant* are 

^tulebt4il to the Oxford Ihuite for the simplification of the whole system 



156 



RoAbw 



(if rufRrunce». ii in not a little surprbuog to ftad nu inentiuii of the 
J'acl ill thf nrt'fa<y*. W\- liAVf oulv the ran.- >(tf*'iii^nt that thv l^xt 
tVilI(itt-.-sl in t-hat itf the Oxlbtil I>arilc, It vfoiild h«ve Vw-en more 
jjiTU-'eCtil, to sftv the It-aat of it, if suiiil' ulijjht neknowUKlgcniPnt hwl 
been uindt? of the vt-rj- omaidi^mblc asaistance ttfturdwl tu thf coniuUen* 
in the niattt'i- of tht' refereuceH by the Oxford edition. The oniisaon in 
the niofv tiiiticea)>le nwing to the fiw-t that I'rofessnr Piiuuiiinzzu, the 
editor of the Yacitbulitriu-Vimrnrdmisii rect'iitly jjiibbsht-'d l>_v Htn'pli of 
Milun. Ulv." mrticidar »tn?98 ou the convenience of the bne-rofcroncea in 
the Ojcfiini l>!int(! for tho purijosi-* of hii>i work. 

Thf i'f«]K.risible editor of the eonconhiiioe is Pmfessor K. S. Shpblon, 
of Harviird, and his principal collaborator, n* in indicate*! on the title- 
^»ge, has been Mr A. C Whitf, whose nnniu w known to Englinh 
Dantist* in connexion with a j^allant, if not altogether successful, 
attempt at itii Enjjjiiah rftiidHritiK' ■"d' thf i^navatio de Arfwi et Terra, 

We h:i\e no heKitaLitm in sjiying 'bat the work retluflK pvAt ciiedil 
on ftll ct-ncetTied, The printing, which wjik entrusted to thr Oxford 
C'nivennilv PreH» — a Ntriking and well -^Ifwerved tribnte to the high 
reputation of the LIuivei-Mity tj'jKigi-apher, Mr Hoiuce Hart — isadtnirubiy 
i>xecuted. The tjiie nf the quotations, though somewhat ttmall. is clear 
and distinot. while the head-words stand «jiit eompicuous in heavy type, 
t.hii» givatlv fadlitatiiif^' ivfetL-iiee. 

The editors wisely abandoned thi- arbitrarj- amvugeraent adoptetl 
by Professor Fay in his coiieonlatiee of the GummtnlUt. and have reverted 
to the usual jilan of giving the uiiotations in the ortler in which they occur 
in the original lexta. We are inclined to think they were weil-advijwsl 
to 8ei>arate the poeticid from the pnwe auuttttions. by placing the forraer 
in the iip[>ei' half of the fmge. and the latter in the lower, thongh this 
arrangement involves consiaenible repetition if head-word* On the 
other hand, we dLtcidedly dinappnive of the ubandonmeni of the acot-pti^d 
concordance method of giving as head-words every separate part- of 
verb, subtHtantive, or adjective, in fiivour of the dtettonar^' method, riz, 
that of regist^^-ring all verbal forms under the head of the infinitive. 
and of ignoring iih headings the inHecled fomiM of mibstantiveH nnd 
adjectives. We cannot see that any advantage ia gained by this 
annngenieiit, while the cli sad vantages are nbx-ions. For instance, in 
ottler to find a iNirtieiilar passjige, say, in which the word rciffioua 
occuiTi (as in the pnnise ra^wna il tine), it is necessary to search tbniugb 
inon' than two jmgeJt of the concordance under the htviding ragionare, 
whereas if then* had been a heading rufiioini. it would only have been 
necesiuiry to glance thnjtigh about a thinl of a page. Ago-in, to verify 
a nuotiitioii m which the wonl ude occurs, one has to turn to luHre, 
under which ht-ading there are nioiv than a pJigf and a half of entries 

In the ciisp of -Home two hiindn;d wonls of verj- tVi-fjiient oa-urrenoe, 
or of comjHLrative unimportance, nutiierlcal rvfen^neeK alone are given. 
This is reasonable enough, no doubt, in cxtrtain inHtancea; but it is 
diiwoncerttng, to say the Ica.st of it, to be eonfmntMl by a {>Age and 
three ifuartera consisting uf nothing but numerals, a.^ under tlti-e. for 




Remi^ps 



157 



I 
I 



I 



vsminpli^ Thiit w about mi » par with tde vntry Smttli iu Iht) indox to 
ihe OW Genthrniiri's Mivi<t:inc. wln-n- nil th<- Smiths inrntiimKtl in the 
RU^UUR' 'ATv liitii[>i-<i L.tijuthfi' uudi-T f>\w lutadinff. How hojieleas the 
artirch und* r th«'Hc ruiiilibiotuf for ]K'rnl)ar fonnn Hiich as dicer. diUe, 
din, and lhi> tikt* ! ThiK iwush uf fi^un-ii mi^ht have betm of som<> aw if 
wch |)art of the verb had been registered sepftrately with its own 
refen^woa. The wnni diri. by the way (the phiml of ihe infinitive 
i\r^ lined »ubHtantively ; d' mitirt in Pttr^, xix. 7H) whiuh ucciirK 
io ^nj. VIM. 75, ought eertaiiity tu liave found h pla(».> in thi> cuii- 
tordaooe. In thr ciuiL- t>( ciirUun of thtaw^ wi)niH we think that the 
(ditnn mieht u-jlh advaai^ige have HsM llieir diucrelion. Utxlor oj^ni, 
Jm* cxauipie, they mtghl uiry well haw i{ii4>t>fid the iKiAsa^Cfl (cff. 
CoMv. III. 5. I. irjfl : 7. 1. 87 : 1 1. L Th : iv. 2:), 1. 1-W) whi'P.- Djiiitc nses 
Ih*- word in the restricted seiwe of "both' <cf. In/ Vll. 82; XSll. 50; 
J*Hrp. \i. 22 : iv.;^2; kxvi.31). Again. Danur's spf^t^ial ii.se of acc*o«eAii 
niight well liiwe been todicntei) : aa might thu Jntcrrugutive usn of 
fuuHf/o; and so oti. 

Det^iLi of this kind, hovrev-er. are mutters of opiuion ; and no doubt 
the edit^trs were to some extent ioHuenced by conaidenittorw of *|jao«, in 
rieoiding on theec And ^imii.ir uiniKsiouit. 

Jio far aa we have btn'n able Ut test it, and we have U^Htttd it 
|:»retty severely, the accuracy of the references — a matter of paramoiitit 
*xn|>ortiuire in a vnnk of this de-HcHption — U beyond reproach. We 
H»ve di»»<rered but one wrung reference in the ooureie of our exami- 
•itttiun, namely on |>. 652. I. li fi-om foot, where Conv. iv. 15 should 
"l^e IV. 5. 

The title jmge — the arrangement of which displays a lamentable 
Ixu-k of liuite on the pun of the printers — and the preface are in 
X Ukliau This »«.-eiii» at Brat sight a somewhat ridiruluiu piece of 
t34.-ibuitr}'. The explanution is that if either were in Englitih a duty 
'^nrcKlId have to btr |Kiid on every copy of the book imported from Kngland 
S-tit4t the United Statea 

The work in apjimpriately deilieatcd to the venerable and giUed 

Y^pwident of the ( aniUrid)i{e Dante Society, Profestwr (*harlei< Eliot 

^lortnn, who has done w> much to fijstier anri encounige the study 

•:>f Dante on both »idi's of the Atlantic during the last fortv years. 

To Prufewor Nort^m was duo the laception of ttiid great undei-taking, 

rtuw 8u happily completed, and we are glad to leui-ii from him that Ihu 

^^^XTi^^tv haa in liaiul ihe preiiamtiun of yet another ( 'onconlanrt:. viz. to 

X>uii<' B I-!itin Workd, wliieli with the two voIiuiich alr(>Hdv publishwi 

Will furnish a complete regi-nter of the whole of Dante h vocabulary. 

Paget Tch-xiiee. 



158 



Heviews 



Dante's Divma OommtHa. Translated into Knglish ProeH- by the Kev. 

H. F. TozEH. Oxford: Clarendon Pre&s, I y04. «vo. iv + 447pp. 
The Purgatorio of Dante Atiyfiiefi. Rendered into SpenKrian English 

by C. GuKDON Wright. London: Mcthnen.and Co.. 1»05. 12mo. 

Kii + 304 pp. 

Gio\-nJini da Sernivalle. writing circa 1410. lufserta. u» w w*il known, 
that Dante studiwd theology ' in Oxoniis in regno ^Vngliae.' Mo*lern 
cnLiciHrn liH»k» oti this iuvtertion with gmvest sui^picion, in ^pite of tht- 
feet tluit the |)i)Ot hptraj'H (Jn/. xv. 4imj.I a kiiowloiigp of that coast 
fnim which our white cliff:* are visible- But if Oanie was never at 
Oxford in ihii Hesli — ' con la sua porsfuin '^thert- can be no doubt at all 
that he is ver^- much at Oxfowf now. and that our University, if she 
muKt ppnouiico her claim t-o be his* Almn .Vntei; is rfhowing herself a 
luor<t (L-vuk-d Alumnus. Even reju-ntaiit Floix-ncv hus (lane no mure in 
tJit«e liist vears fur Dunte-studies than that I'liiinenl group of Oxford 
scholiini Dm MiMjre, 'I'uyribee, and Shadvrell. And now Hnothtrr Oxfonl 
UantiKt, Mr Tuzer. haa added tu thy debt which we already owe to him 
for hi» excellent and achnlarly pommentjit^- nn the Bivirm Votittnedia, by 
the jiubl ituition of a companion vulntne— a prose tranRlation, with brief 
prefatory deacriptions of Hell, Purgatory, and Paradise, and a well- 
selceied niiriimim of short notes. The translation is based on Dr Moore'n 
2nd edition, but on I'uiy. xxiii. 117. thetv in n. aiguificaiit refereucu to 
the Foretie-JJiinUf Tejuime, which was only ndiuittod to the Oxford 
volume in 1904. 

Every h)ver of Dante knows that to tranxlatt; the Diviaa Commsditi 
adequately i« inipu«.sible. Ha« not the Poet himself aesured iis {Conv. i. 
1, 92 sqq.) in the most trench.'int language that 'nulla cosa per legsme 
musiLJco urmonizuitu si pu<> della .luii lixjuvla in altni trasmutare, sonza 
rotupeif tutUi sua dolcttzKti e jiiTiionia' > 

lot this iinpoieibli; hon been uttempti-il again and again, luid with 
no mean success. »ince Carey first began u» publish his verse translatinn 
exactly a hundri.:d \vA\r» ago. And tlitr dithciilLie« and liiuitabions of a 
trauKlation iutu English vi^rHi- aiv probably hiilved in it prusw rendering, 
though they still remain enonaous. Tht^ jirejsent trauHktor's claim is 
ver^' nindeft — to have prudiin-d n rendcHng faithful ami r^iulable but 
not too lituml, and to have contributed 'something towards the more 
perieet translation of the future.' Sij much we feel certain he will have 
accomplished; and we venture t»go much further aud to predict, with- 
out prejudice to the uumeruUH tuid in many ca«es creditable and valuable 
cttortB uf hl^ predccebsors, that his excellent book will establish itself for 
some time Ta) (^oine an the Ktanilanl [lopular tratmL'ition of the LHami 
Vammedia. 

That it should be faultlei^s Is too much to expect, but it comes as 
near perfection, for its pur|>o8e. as anything we hove yet seen. Having 
thus expressed our opinion on the work in general, we may be pennitted 
to sabjoin n few detailed criticisiu.'*, or rather suggestions for the te«med 
translator's consideration iu view of a second edition. 



I 



R 



crteiM 



159 



^A. translator, utiles^ he is prep»n>d to intir hits book by constant 

'toTiiutivi- rrmlurings. is alwaj-B iimirr tlu; m-cossity of (Innling decisively 

n-nj brusquL'Iy with jioints »(' duiiblfu! intt-rpretation. He may have 

««c-i l]iit(-(| for hoiire before his own rii'cision was reachpd, but the result, 

wttlti^w he hinlgeK, is ileHnitely mi one sicie i>r the other. ThiiR, we may 

not <s«mplain if we find the Feltnt ideutified with Can Grande, without 

f^y^ **iigR«'Stioii of a doiiht; nr the wi/»(e of /n/. xviii, 33 dcRpribed as 

"*^ t'jijilluliui;. or thi- VfXed phnute betitu iHir incritto uf Purg. \x. +4 

*'r^*^*ftl«ted ' by a sort- litl<> blesU* But is Jl uol ai Ityjst prubabli- thai 

f^^ ^i>[H! iMtdix^Msed in J^ar. sviii. I'H) in Bnuiliicc V'lll. rather than 

"'-*'* lA XXII. f DoeM Daute i-ver forjjel his furmul daty, and sjicat other 

^m "^>-*^ prnpfteticalli/ »f the actual jieritKl when he is writing < 

^H^- -^kgain, siirelj' the context i>f Inf. xxx. 7H lit overwhi-Iutinuly in favour 

^■^ ^*-'*i )dentt5cation of Fonte Bnmda with the spring, which still exists 

^■^^"''^MV on the Ride of the UMnii*na hill in CRKentmn, as against the 

^H|^''*^ i liuiul refen;nce to Siena. 

^^^J ISIotuish^s in the tmnslatJon itself are <if course t'xeouding few : but 
^S^**?**; are iromu poiTite worth discusaion. Is ' loving ' a perfect n.^udi'ring 

I*" -^wiiave {Piirff. X. ^8), ur "white" of ti'onrfa {Put<j. viii. ;U) ? Is it 
*'* ■*~*<^j(;nt to traneiftte the wondorful vtrat: (Pwry. xxvii. 142): 
' Perch' io te ani>ra, t« oorono c mitrio, 

^^^l^crefore over thyself I invest thoe with supreme eontrol/ without a 
ne> t^. of cxplauatitin ; or to render dei/vrnie (Piu: ii. 19) by ' which exists 
'"^ *il~»e mind of Q*A' similarly without note or comment .' Again ' With 
^^^-^^mess in his sjH-ech and looks ' is a very neatly turned translation of 
~ -- XV. 37 : 

Bd udirc pd H vodvr ^ocuiido: 

"■*• doe* it exactly represent the origimd ? Finally. ' mountaineer' is 

"■"iJijjs the ob^-iouH equivalent for manUiiiara, but does it not to nitxleru 

1^ *"** smack more of t^ie Alpine Club than of the hilt-bred clown of 

, ^/^^V?' **"■ '>** «■''" gni«?» in ojicn-mouthed wonder and perplexity at the 

I ^^^*^jniliar Bights of the city f 

"^o tun) to somewhat difierent points : is not the spelling' Halleluia' 
fx 49 a raoriBtn^ity ' The I>ntin Altelida (which l>inti' pn-'sumnbly 



--^ — te) and the Hebniie Uallehtjali are both faniiliai* : but whence c-onje* 
j*~^**.l]eluift* ? Another mint in which the spelling in open to criticism 
.*>«i pp. 182 and !8JJ. but in thi« awe for its inci>nmstency : the Mulii- 
_*^'-*».n is CttUwl 'Conrad' in u>xt and notes, and 'Coiimdu' in the 

For the rest, we have notii^ed aomu dozen phitvM wheiv fuller notes 

i^'***^ aeeni deairable, and three or four inoi*e where an additional note, 

jj*^*"«vpr brief, would be welcome. But in those uiHe;; it in always open 

J. tV' author to shelter himself behind his earlier volume, the excelfent 

. *tfV)n| Commentani un Um iHvinn tkunmedia. There can be no exeiise, 

^'^'^ever, for reiiundmicy in the uoLe^, where so much han obviously been 

^^rifieed on tlie altar of brevity. Is it not therefore Huperiluous to 



IfiO 



Jvtviwf9 



describe Cariavnda (|i. ]>)6. note A) as ' One of the leaninff towers oi 

Biilof^a which it out of the p&'{>endicvlar,' and do we need to be informod ; 
of Hriaitttis i,\>. 198, note 1) that he is ' mentioned (in {'mv^. xii. 2K) uptut I 
from the filher' giants 1' 

We mu:4t apulogise if manj' iif the above criticisms seem captions: 
one is dealing fur the most part, though not entirely, vith trifling 
blemishes. But it ia j uai because we recognise the beauty tkod the value 
of this new tniiislatiim that wi< vontiiro to noiicc points appart^ntlv m 
triHing. In tin- hope Umt the second edition, which will surely be called 
ftjf ei-e long, miiy ;wlvanef a atap furllier tuwardti Ilin ideal ' Iranslaliun 
of the fntitrt>.' H 

Mr Wright luis reaston in hln contention that Sjientit^r'N Eiiglioh has ^ 
MperJal qualities which iwlnpt. it to be a medium for rendering ' the e-asy 



gnu!e and the mingled <]uaintne8>3 and jiiibliiiiity ' of the uiviuti Coni' m 

own triLiiftlatiiiii of the Purgaturio 10 f 



media. And on the wliole his 

ilecidedly hjtppy. It is at oneo frt-e and faithful ; vet many will object 
to the i-ecurrenfM.' of 'split iiiiiiubiviw' ; and the [innting in the form of 
unjse of ft version which runs so largely iu blank verse rhythm, though it 
ruia its iidvuntugeH in thin vasf, in nn espexlient open tu disctiKfion. 

The notts are well ehosen, and their materia) ^uundnetw is vouehed 
for by the tact that they arc mainly nited from Mr W. W, Vernon and 
Dr [*aget Toynliei-. The weak jioint of thi^ Iwrnk is its intmiluelion, 
which c-ondeuses into vight short pages a perfect tfwwnry ol' inaccuracies.. 
We are left to conclude, for example, that the entire parties of Black 
and White wt.rt^ aimulUtneounly banished from Florence in 1300, and 
llwt ■ the Staligera ' and ' Can Grande ' luui nu clow-r connexion with one 
another than had the latter with the Mala»piiii ! All l,hit< i^ unfortunate, 
beea!ise the writer has a clear and forcible style, antl the little tntro-. 
(luclion would have been very valuable had it not failed iu aocuracy. 
There are signii also of burned proof-reading: misprints <>cca>iiouall v, 
and the complete omi^iuu of a note (No. 8 on xxvii.). For the ruHb, the 
style, binding, and printing of the book arc worthy of Messrs Methueu's 
bust traditions, though the vopy sent us kcka the promised fruntttipieo<\ 

L«>S'si>ALE Hmhi. 



.ViiHitat«Uu prinvinale. Per utwtdegll nliinni dclle faculUi di lottere. In- 
troduzione grammaticale, creatomazia e glossario. Da V. (^RESCINI. 
Seconda edizione mnendata ed accretioiutii. Verona : Drucker, 
1905. 8vo. xii + 548 pp. 

The ap^MMirance of a second edition of a work such as this, e*iM>eia]|yl 
after a revision ao careful and complete, is an event of imiiortane*> in] 
the progress of the »tndy of I'rovenv''''' The author jicknowledges that 
he owes many useful hints to the critics of the fintt edition, ami alludt 
to the second as ' almost a new work.' It cej-taialy is the best book of 
ita kind. The gaps in the first vocabulary have been filled up in the 
eecond by the iMldition of words coramoo'to Modem Italian and Old 




Reviews 



I 
I 



I 



Provencal, which were omitted before. The expreeeion 'tiig H pluKor' 

(Extract iv 1. 15) dues not tind a pW-t-. Probably the omiKiifin ia an 

oversight. Such, too, parhiiiw w ' an ' for a-u = ' a ine«»ere.' We have, 

however. ' o'n ' = ' e nicsserc ' (pajfe 387), Elsewhere the conventional 

dot h:ut l»een atldpt*-!], ami thu re-iiler fim{n lines like " Lombart bo-us 

gnrdaz,' to tiike an example .it random, njuch more ajfreeable than 

'Lomliart bens jmrdnz' of the first edition. A step in the ssirae 

direction, too, is tne udoption of the sicn ' %.' But it is the high value 

of the grammaticitl introduction vrhich raises this particular chrt^slo- 

mnthy ftoove nil others. We know of no other trentino on the Orainnmr 

of Old Proven^ftl ho recent, convenient Hud cumplete. This intnjduction. 

«nd cspwiallv the part dealing with I'honL'tics, has come in for a 

ihoroijgfa revision or rathiT Hinjtlific-jiLion. A piigc is iiddeti niion the 

origin of such doublets as 'meriivilhir and ' nieravtlha,' Profesaor 

Crtwcini .leemB to be of opinion that the divergence or dL^tiirbance wiis 

pnibably due to the presence of ' j ' in the next Rj'IInble ; that it was in 

fact what it now is, purely a dialectical pecah'arity. [lervadine t,he 

Italian as it did the Provcn^-al area, but that here the local boundaries 

of iia distribution have beinriie oblitenited. The pa-ssage, however. 

•ioes not seem ^idte clesir, and I may be [lardoncd for hoping thai 

t.h« Fault licM with the author. In any uue the lugnnienb that the 

\**id*> prevdlenca of the fonii 'memvilha' tells against the Latinising 

Itj-pothewiH, is at leant weakeneii by CDnijHiring itH hintiiry with that 

«3f the wonl ' lainiiha ' and ' famille ' in Kri^ntrh. Would not the Intro- 

«:iiiction be the bett*T for the omission of the word 'eufonia' (page 12V I? 

"E'ho word ' euphony ' ht»* no precise meaning. It often tuoems to be 

«j»L-d to tieacrilie phcnomemi not included under any other heu^ling. 

in one treulise ut\ Histurieal Krenchj ■ dissimilation ' in cUissed among 

^auphonir chatigeii. The extmcts are the same in both editions, with 

the felicitous iKldttion in the i>eeiind of a Pn»venr,'al put^tit-al epistle, one 

«r"jf those written by Itambaud de Vaqnciras to hi.-i patron, Itoniface de 

I\lnntfermt. 

Q. A. Pauby. 



MINOR NOTICES. 



OR Hedietxil Literature. 
1906. 8vo. vii + 2(il pp. 



Hv W. P. Ker. I..<indun: Uacinillaii. 



Onr English ttcholars have been \em wooenftil than tlio!^ of the 
Ointinent in conveying to us a senao of fcfae beauty luid glamour of 
metlieval liiemtuiv, piw-sibly because, to qnot* the opening sentence 
of ihia vuluiue, 'the uttnicLion of medieval literature come.t uion; 
strongly frimi some other ciiiiMtrieit than from England.' But, whether 
or no, the author of Epic and Himiawe and The Dark Afjes is an 
exce|>tion ; Professor Ker has renlised for us the ' gorgeous Middle Age ' 



162 



MiTwr Notices 



with the aid of that Hnt humanistic acholarahip which ia the most 
precious heritag« of oitr nldfr tinivendtiea — a sohotiu-ship lut distiuot 
troui the gay industry uf the great French medievalists as it is fruui 
the mystic awo that brooded over the older Oemmn int<'rprete« of 
the Dark Ages. Althuugh all of thusc fs^&ys have l)een printed 
befons — Chaucer, Gower and Oastoii Pans in the QuartgHtf Revime, 
'Ffie Si7nUea uf Danle in Ll»: Mudem l,itiitju.aijts Quarterttf, JfooCttCCMt 
in the vuluiim uf Tayloriaa I^cturex, Froissart an an introduction tu 
the edition of Burners' translation in thu 'Tudor' surius — wc welcome* 
their a|)])Hamut.v in a dingle volume. 



Hie Diary of Haniuel F^yt. With an Introduction and Notes by 
0. Oreoorv Smith. (The Globe Edition.) London: Macmillui, 
1905. Hvo. xKxii + SOO pp. 

It was to be expected that Fepys's Diar^ would eooner or later find 
a placa in McAsrs Maciiiiltan'!* ' (llobt' hxlilion,' and tlie nubl!^henl ore 
to be uongratulated on liarin|f found bo thorough and scholarly an 
editor as Professor (iregory Smith. He has provided the rolinne with 
an excellent introduction, the footnote.^ to which eontnin a full biblio- 
graphy. We do not wish to quiuTel with the udoptioti of the Bray- 
brookc-M\Tiore Bright edition for the pttaent p«rpo*te ; but we should 
have pi-elerred ii little less protest with rcgiuil to the choice. It is 
diHcuKwd both in the Prefat* Mud Introduction. A valuable addition 
to the present voliiinu in Frofe»aor .Smith's notes, which have slootl the 
teat of a pretty searching scrutiny ; he has skiiriilly avoided the danger 
to which the commentator of Fepys is peculiarly exposed, of annotating 
the obvious. 



Wvrdxworth's Literary Criticism. Edited with an Introduction by 
NoWHLL C. Smitb. Ijondon: Frowde, 1905. «vo. xxii + StiOpp. 

Poemi and E.rtrut:Ui. Chosen bv William Wordsworth lor an Album 
presented to Lady Murv Lowther, Chnatmaa IHUi. London : 
Fniwde. 1905. 8vu. xvli + 10<i pp 

Thu age of enthiisinsbic Wnnlsworth won^hip ha.* pns.sed away, but 
there still remains much for the 9eriou.-i student of uur English Huntan- 
ticistt^ to dn befoi-e final idea.s are arrived at as to Wordsworth's puution 
in the evolution of English poetry. Mr Frowdc has added to Ilia 
' Oxford Library of Prose and Poetry ' two vulumeii. each of which in 
itfl way contributes towtirds this end, and he promises, us a third, u 
reprint of the OaiUe to the Lakra. edited by Mr de jSelincourt. Whether 
it le fair to Wordsworth's critical judgmi-nt to lay weight on the 'Poema 
and Kxtract-i' which he selei;ted for a very »[M.>eial object, is open lo 
qneation, but we have no heaitation in welcoming the anthology of 




MitMt' Notices' 



163 



WordswiHtli's critifUiii which Mr Nowcll Suiiih hiu* edited. The 
criticunii that centred in the Lyrical Bailadj has, of course, tht chief 
pla<.'«: but if wf lire rightly to itndt^rHtHiiil Wordsworth's siynificiincc 
as a force in Roraantie eriticisni, and »e in him Homethin;; nioi-e 
than Professor Saintsbiirv, who in his Ifistwy of Criticutnt regards 
* W. \V.' with (jiiite Tinnn'ritf>d eonU'iiipt, w*^ must gn further lufield. 
Mr .Smith's estnicts, eap^^rciallj' thofit- from the letters, are ixrcjisienallj 
ao brief as to appcjir ' tienippy,' b«t they at least point out the way to 
the sources of better uudenstiuidiiig. 



lotthe's Fausl. Trannlated by Anna Swanwick. With an Intnxiuction 
and BibUogmphy by Kakl Breul, London; Bell. 1905. 8vn. 
1x31 + 43" pp. 

flot;thr's Faust, translated by \fi«a Anna Swanwick, has been iiddt^d 
by Mesers Bell to their ' York Library.' The vahie of the new edition 
is enhanced by an admirable and conci.sp Inlrtidiietion by L)r K. Breiil, 
which provider the render with the neei-ssary correetive to such facta in 
iiite Snanwick's own intUMlnction as have been rendered obsolete by 
recent retienrch and discoverj-. It wonld have been still more sntis- 
fiici«r>- had the editor been able to iiuert hia corrections m the urigiiml 
introanction — ^ivwrittng heiv and there where necessaiT; but there 
were midoubtcilly n-^isons fijr retaining Mitts Swanwick s text intact. 
Chironly critieiam is thut in a book obviouBly intended for a wide circle 
of readers the somewhat technical reference to the ' Urfanst,' ' ^raginent.* 
Part 1. and Part 11., as IT, F, P, and P, might have been betttsravoidtKi. 
The bibliogniphy is judietuudly selected antTwill be helpful to the student, 
1» the iuleri'sts of the heu-rodox members of the " Onothe-Gemeinde ' 
might wc nob plidad for the incbision of Ciwiuuer's Goethes Fawitidea? 



IiigtHviika Chrestnmaiija. By B. Wolte». Pnrtll. St Peternhnrg. Ii)05. 
240 pp. 

Rt.'cent jioliticjil eveiita have brought the Lithuuniun langunge more 
l« the front, and we read in the Kiituiati newspajjei-s aceountH of literary 
reuninnn in which it has been »]mken by thr iMlucated claiwea. This 
interesting language, which muni always possess a faacinntion for the 
student uf ctniiuinitive iihilolugj', is miuie more accessible by the 
ChreHl^miuthy of M Woltrer of St Potersbiirg, of which the second ]»art 
haa just appejvrod, ronUuning interesting documentH. songs and dialectic 
iqiecinions. At a mndemte pnce an excellent reading-book and handy 
lustM for philological lectures are thus furnished. Lithnanjan book'n 
are still com mm lively raiv. We arv al»o glad to woleuiue the Engllsh- 
1 Jthuanian l>i(-tionary, published at ( 'hicugu, by A. Lalis. in two 
hnniLwnie vulnnieK. A Ltthminia]) preiM lias olsa beun founded, thuiiks 



164 



Minor Notices 



U< till- activity nf I>r J. Szhipas, at Scnvnion. Penn.. U..StA., while tht.* 
Lithuanian Litenu-y Society of Tilsit coiitinuL-s its iiseliil laboum New- 
vitality seems to be giveo to this uncietit Unguiigt?. 



StudflDts cf RoHinnc*^ I^ajjgiiages will ^velcoinc the Bihtiotheca 
Romtimai which is iwing nuhlf.'ihed by Mt-ssi* Heitz uiid Mliiidel in 
.Strrteaburg. Thv publitattuu is dividt-d iotu four SL-rics, duvot^Kl fct» 
French, Italian, Spciiiish and Portiigufst- liierutiin^, aiid is, we umlwr- 
stand, under the gcncrftl editorship of Professor G. GtOber. Th« first 
teu uuinbers inchidy Muliere's Misanthrujie and Fetmnea Savuntea. 
ComoillfV Cid, Deacartos' DUcourff rfe fa methode. Dante's Jnfei-'io 
(a (U)iibU- uutiibi^r), B«cr»rcin's JJucamermi (Kirst l>ay), Calderon's La 
VUiii es sue/Iff. R«.'8tif df la Bretonne'e L'lm JOOO, and C^nioes' Os 
Lusiadcu (Uiint<w i. ami li,), Amnngst the promisfs are Petrarca, Jiimn. 
Beaunijipchaia, Le HarbUr de SeviUe, Tillier, Man o»<^4 Benjamin, Cer- 
vante«. Don Qtiijvte and the Autos of Gil Vicente. The textti. which 
are repriidaceil with [thilologieal nccuracy, «re printed in clwir tj-p* and 
on excellL-nt [HLpur, luid L*ach aiiuiber is prffucul by an introduction in 
the langiuigo of tlie text. The nuuiborH cotit only 40 pf. (50 oentinK-s) 
each. 



The ' Litorarische Verein in Wien ' has just issued to ita member* 
the fourth volume of its publications, Ed. von Baucriifeld's Gfiammelte 
Aufsatze, tditcd by Dr Stefan Hock. The Socit-ty wius foundwl in 1904 
with the object of furthering the study of Austrian literature by the 
piihlicatinii of unprintt^ or nire works, critical editions. correfflKinaence, 
etc. In the meantime, il is not propoaeii to go back beyond the period 
of Maria There-sw. In 190+ its publications were; the first volume uf 
Grtllparters Gespivtrhf! nnd die CkanikiAristik seiner t^ersrintichheit 
durck die Zeityetmssett . by Frofcssot' A. Saner, and F. M. Felder's Aus 
mmnein Leben, odited by Prtifassor A. E. .Sfhonbaoh; in 1!105, tht* 
.sctroDtl viiluiUL' (tf Griltpiirztra Gesprdcke and the Etways of Baitcmftdd 
aln?ady reftTFt'd to. In pivpamtiun are: a reprint of the jounial }*ro- 
methfi/s { ISOKJ, a third volume of Clrillpitrzer s CorivL-rsMitionu, the [Kilitical 
apeechps of Auuslu^iiuvi Grtin, Letters of Hermann von Giliu, Critical 
Iwsays by Eniil Kuh, Politirat Poetry of ihe y''"r IROt), ami a volume of 
Letters and Memoirs bearing on Kant, in Austria. The >iepr«tar)' of the 
Suciety its Dr Kudi>lf Payer von Thurn, Wien. iv.2. liengaase 5<i. und 
tho iinnual 8ubscriptif)n 20 Kr. 



NEW PUBLICATIONS. 

September — November, 1905. 

GENERAL. 
(a) La»g*ag», 

AuKu C, Vb<:r OuKViuiiiiu luid U«)t«nUut in <]oii tclrMlMhcB, gc n uin bel wa 

arid nUvipciieii S|irad)mi. i. UcH. Ftunkforl, l>ie8fcenre^ lU. 60. 
UAt)LA.\5, F., S[>nu:lipHvcliolugie und S)iriu-huDterricht. Uine lcriti»cli« Studio. 

Ualk-, Niemeyor, S M. 
LfiBOTt R It., Lv Iim^gr, ciKtvti nur lo luytLok^jie nonaale tt patbulogiquo Jo 

OClUtfuiiotioii. I'lLTia, Aliaii. & fr. 
RATiutA, K, PMiculog)!! delln lingiiu. Turin, Booca. 3 1. 
8CUUIJNKX, J., Iiilcidiag Lot do Htiidio d«r vergelukeudv iDcIo-germaAUsctw 

Tiutlw(.tciiBC(L|i. Lt-idrii, .'^i.ithnrt". 3 fl. 
dTEVRKB, J,, Uor UrepriiiiK uml dim WacLstiiia der Sjiniche indoKfiruiauixvticr 

Kuro|}itn-. X'ieniwi, Hdldor. G Kr. 

VoBBLBH, K., Sprfw.be aN Sclkipfuiig und Kiitwicklung. Einc thoorctiHcho Un- 
tennicbu&g mit pi-aktiauhcn Bcispielcn. Heidelberg, Winter. 4 M. 

(4) tittratHre. 

OLABHt >l., Klftssische uDd romnfiti^rbe Satire. l£itio verxloictunde Studia 

Stiitt^rt, Stroekep iind Schrftdor, S M, 
Kia, W. P., EwMj-K ill Mediaeva.! Lit«raliir« [The Eiu-Iict Hintorj- of English 

PnMw. IliJitorica] Notes on the Sinultut of D»ntc. Boccaccio. Cliaucer. 

(.TOWer. Kruissarc. UastaD ParinJ. London, MKcmilla.ii. t>t. net. 

Usy^NDEK V !'&L.\To, M., Orijj;«ni» de la. uov«l&. Toino I. Mwlrid, Bailljr- 
Bailliire. li! \teo. 

OftWAij), K., Tho I^igmid <if Kdir Holvii. A« told liy Humcr, Oootlio, and oth«n. 
A Htuily. ijiiiidon, Murray. ICb. (k/^ 

Tbkxt, W. p., (.irmtncaa in Literature «.ad other P«|»ra. >'cw Vork, CtowbIL 
1 dol. 2a not. 

WooDBKRBV, G. E., Tho Torch : Eight Locturcs on Race Power in LitcratuM. 
K«w Yot^ McCIure, PbiIIi[M. I doL SO. tut. 



ItOMANCE LANGUAGES. 
0«BeraI * 

A«i« romaniMhen Spnuib«n und Ut^ntUNB. FMlschrift fiir Hciturich Morf. 
Hallo, Niem»y«r. IS M. 

Beutoni, O., tliuvaiini Matiji. Baxliieri e gli tatudi romand u«l aea xti. Turin, 

UuioiieTip. *l. 
BibljothccA rocoAiiio*. Nos. 1—10 [•«« pi 164]. Stnu«burg, Hcitx. E*cb 40pL 

H. L. K. 11 



18« 



tew Pitbliratimui 



Medieval Latin. 

Qoiitb. Uomanonim, TntDslatcd by C, Swiui. Plcbo* by E. A. Baker. I»ndoa, 

ttnutttMlga 0«. not. 
Heij.u*sx, S., Soduliue Scottu*. i.-tir. Hofl. {Qiiollon and TTntermichangen 
xur lAUmischon Philo1ogi« dw Mittnlalwr*, lirsg, vaa L. Tnuba. i.) 
Munich, B«ck. KM. ■'W. 

UI.RICH, J., Prol:)eii der UtAiniecben NovoUistik dm Mittdnlbcra, aingcmihlt 
luid mit Annierlcun^a TerBehcn. Leipzig. Rengci'. 4M. 

\V»Hlwiii powtn. Da» W«lth«xilj«l Ekiwhards I von St OaUoi hwawig. van 
H. AhW. 2. T«il : KomnicutAr. Leipag, DiflUvich. 13 M- 

ItaliaiL 

Barini, Ot OanUii cavnllorceclii dci iwooli xv e in, ntoooiti » pnbUicali. 

Boloffna, Roinagaoli licll' Acqiia. 8 L 60. 
Boit4)in»t, ?., P«tTai«h and hifl Influenoe nn Kngtisfa Fittfirntiire. BoUigna. 

Zanichclli. 3L 
DoXAPOHitE., Sull'autenticitkdi alcuniacritUreputtttidiuitmchi. Pnlemio. 31. 
PoEMTKR, W., Sultn qucAtion« ddl' AiiUnticiUt Aia Oodici di Arborva. Turin, 

FiuKCKWM Dik Bambrhrio. I documonti d' unora aecondo i manoacntU otisi- 

nali a cum di F. Egidt. Ftac. iv. Rome, Looacbar. SL 
OcBBRNATitt, A. DK, Giovanni BooMocio. Oona di lasioai. Milan, Ltbr. 

edit. luuioaaL &L 
EIake, C, U«nte the Wayrarer. London, Uarper. lOt. 6>f. net. 
Lkcl^Rk, a, Lv MyeticittttM cathvlique «t t'&ui« de I>ant«. Paiia, Blond. 

3 fr. W. 
HAvrKKiit, P., CeMue Cant'i : la bjografia ed aleuni acriui inediti o tneno notL 

Stduiiiia, Trimarcbi. 4 ]. 

Majm, E.. Soggi di fttorin c crilico. Dologno, ZaaidieUi. 4L 
MoutoLUVu K., Giusepjw Mazzini c le ideality m«clcme. Milan, Libr. ediL 
Loinbnrdn. 31. AO. 

N'circllc HDtiche del Codici Pauciauchiaiio, Palatine) 1 3R c Launuiaano-Gaddiano 
I&3. Con lum Introdiuifina nulla Storia eutenia del i/o^ut del Nm-ellioo 
jwr {f. Sifigi. Nitavn impreflaigne. Florance, Sanaoni. 10 L 

ScaiTTA, E., I» Divina Cotumedia int«rprouta ixMa StoHa del dtritta italiana 
Rocm S. Caaciauo. Cappolli . 3 L '^ 

ScAKTAEziNi, G. A., Bnntuiojiiu : vitc e mwn di Dante AligfaterL 3* tdiE., oon 

ritoochi c aggiuiiut di N. Suirnim. Milan, Hospti. 3L 
8inTt, U^ La. Uivcia lettcraria ii«i Penn«i-i di (f. Lcopardt. Legboro. 3 L 30. 
Tarossu G., TcoInKJa dantMca rtudiata nc'l Paradiw. L^ioru. 1 L 

Wkiuht, C. O., Dftntp's Purgivtorio, roodered into Speneerian £ngU«h. Loodoo, 
Methiien. 'it. Gd. net. 

Zardii, a., O. ZanelU Delia vita e oelle opere. Florence, \m Mi>i)iii«r. 3 L 

Spanish. 

AzoKiv, La ruta do Don Qtiyole. Mudrid, Bibliotooa naoional y extnkmen, 
3 l>M. CO. 

Bsxin>i(TT<\ J. M., Li^sioo de Oermntm. Madrid, M. 0. HemAndti. 1 pa. 

Brv'iT, E.. Erttidio awi^sa do CsrvanUu y cl Qiiijote. Mttdrid, Uotcuol 2 pea. 

Blasqukz, a., L» lilanclia pn tt«mpo de Oerrantes. Madrid, Impmnta de 
ArtillcrfA. I pea. 

BrciuaAV, M. A., Comedia Pamoea del £adavo del Demonta Compnvbi tx>r 
el dftctor Mim d« Mwwua (Barcelona, 1618). Edited with Intreducilon 
and Ne-tea. BaltiraiWD, runt 1 doJ. neb 




New Puhticatiorts 



167 



CuAi^.S. R.,Piticok^tieDonQitgot«yelQuij<nisma Madrid, N. Voya. SpM. 
C'&iutiWAs X AbtaQ, T., La filoaaHn dol dcnwhu «n el Quijotd. RarMlono, Cloa 

CtaOT. Q., hen HisboiTeit UihirinUiM (t'hUtMgiiD Bntre Ali>b(«»tie X el PfaUiiijx: 11 

(I284-1M6), Brtpdoiiui, FiTOt (tl Piln. 10 fr, 
Ciaor, U., M&riuiia Historieu (Bibliothiqiic ile In ftmdatjon Thiera, viii). Bon 

deaiu, FL-rot ct Fik 1 6 fr. 
Uebdrvubs du 1)bzi!rt, O., Notes Bur 1ft litti^ratiiro ctitaluiQ. Tuuluiur, 

Privat i fr. 
Mkmi^ndkx Pdiau H,, Mainia.1 u1eiiii<nul <le gmmiLtica. huttSrim taixuiol''- 

Mntlriil. V. Siidnyt. 6 |>efl. 60. 
Ptj'ol r Ai.0X9(», J., liJiUdo mkiiaI qim nfleja «1 Quijotc. Miulri«i, Impi'enta 

del A«ilo dc IluprfAnnM. A jiut. 
HtUlL L., Bit>liograf(« criti«i dv W ubrua ile Migiwt da CorvaiitoB Sanvcdr*. 

Tomo III. iliwlrid. Xl, Murilln. 40 pr*. 
8bbr.u)Ci t Sank, M., ApunW« iwm nna. hihlioleea de CHcntomM «t<iMfiulaM dowic 

tt] ftoo 14QI a1 1833. Madrid, Tip. dti !« ' Il*vi«t!i Ae ArohivoH. BiSliutocnK 

y Miiwo"*.* i voln. 40 pen, 

Lkvy, E., PiQvuninliHchni .Supplomont-WtlrFarbuoh. Borichtigurt^ii iind Er- 
gtoiuDgon til {taTiioiinrds I.uiiiiite romnii. \9. H«rt, I^ipiiig, ReislatuL 
4M. 

FrwolL 

(«) (Jmeral {Language, DialtfU). 

CBAuntARic, B. er E, Ca8«i, ChnrMorut jwitoiam du P^gord. P«rU, Chumpion. 

Sfr. 60. 
Chaksovnixa kohham>. R«cueil de chanaotui iiomaDdoKdu xieni^ejmqn'k 

nofljoun. Parit, CartATet. 100 fV. 

CLAnETlIf, L., Histoiiv de li^ litt^mtun fmnvaiac. Tothm I. «t IL ; Origiiioe 6t 

Jtviie laixW Pftrix, OUeudurIt: 16 fr. 
DooHox, P.. Qraiuiiuiim ot diutitJiuiHiro ilti pntoix Uiurlioniiiiifi, cuitoi) d« 

VftreiiDoa. Pims. LechevaJier. S (i. 

Fawt, p., 011(1 0. Il^ui-L, lutcfuiktiiMiiU French - Rnglinh luid EnglJKh-Fninch 

Diutiotiary. Liindon, Jock. Tt. Bri 
SaIX&iK, L., La c^rratitm Tn^tnphnriciiiQ cii frmi^niH et en roman. lumgm 

tinges du inniid« di^i^ iiiiiinniis domestiqites (Bciheft d«r ZoiUichr. (. roniAn. 

PbiL). HuJIe, Nioiuo/nr. 4 M. 

(&) tVrf Ffv»rh and Angfo-.VormaiK 

hS^BTU, E., ha IViriton ct to Palam&d« d«> iniuiiucritH franfftis du UritMh 
jJuaeum. fettidc critique (VidMisubsSekkubebt Skriftcr, n. 4), Chriiai- 
Miifl, I>ybwAd. 1 kr. 90. 

SmrpKiM, G., Die Lieder dn Trovoi^ni Ptirriii vim Ati^icnurt. 

K«igelten (Roiuaniticlie Bibllotlii^k, IH). Kiilli*, N irnii'vpr. 
VtSUta, J.V L« PLuuto d'Aiuour. Po6m« aiiglu-riurrniLiid. 

prouiitn; foio. Qfitvbur);, Zachrisaoit. 
VoRnau^c'H, C, KinfUhnin^ in lioji Studiutn der iUtfra.ii/iH(iiK'beii IJteratur ini 

Arinc)iltWM itii diu Kiiiliiliruii^ in ika Ktudiuui ilcr ulliraiiziiMHcbeii ^prucba. 

HhIIc, Sioiue^vr. 9&L. 

(e) Modern t'nnrh. 

Ai.t>iH, Jamet, Miidiuiid ltei.ifrna,bcr8alo[i and her Times (17SU — 71). London, 
^Iftbiivii. UhL Gil. iiuu 



Krititich bsniu»- 
BM. 

Public I>our U 



168 



New Puhlicatwns 



Dovwo, K. Lctlmi d'Elvira h LaroHrtine. Pari*, Hacbetta 3 fr. 
DovDCM, K., Micttftl do Moatai){no (Kroti^ ilen of I^ttcrn, !.)■ Pbik4e)plu», 
Lippincott. I dol. bO, 

Dcrrr, EL, La jeuiifttme iIm nmMiitiqiias, Victor Hugo, AtTnd de Vigoy. ParU. 
Soc. fr. imp. ct libr. 3 fr. flu. 

Flvocer, £., La CoiiI«iir, In liimi^roct I'omWo tUu* Iw mdUpbom dd Vktnr 

Hugo. I'Aria, Hiw;li<.-ttu, 7 tr. TtU. 
Hag:«E, E., Scjutiiii bI win iinl:«ii. i'lirU, .Morcure do Kraiwe. 3 fr, .10. 

Ua>'tziu», K., Uifttory of Tboatnual Art. Vol. iv : M«li&rfi mid liiit Tiiiton ; 

tilts Tttcntrv Id Franto iii tho Sovciitoeutli (,'eiitnry. Tranal. by L, von 

Coiutd. LrHidon. Duckivurtb. 10<*. uot. 
htKYKR. K., Die Griifiii voti Lara^ette (Bio^apliieo bw]«utendcr Frauen). 

|ji!i{i/ig, l^riberlaiiJ. C M. 
OuviKH, J. J., Lcai^imMiona frMifAiH dniw lex cciiira d'Alieniagiie an xttii* 

hibcic 4c, I'artio: La coiir du landgrave t'l-cdniric II. de Hcsac-Caaaol. 

P^»ri^ Sue fr. inij), ct lib. 20 Tr. 

pATKl,m, The Kar«? of Muster Pierra Enslislwd by R. Holbrook. BoatOD, 

ilougbton Mifflin. £ dol. net. 

PorrRR, ■}., Voltaire. Kiiie (^lim-ftkttfraitalysei Dreaileii, KeiiMEier. A M. 
PODr.iN, A., Pierre J^yottc «t \es chaiitoiira de Hon tfiiniia. Poriit, FiiichHiinher. 

7 ft. iO. 
ItiUKST&D, C^ Fmiivlc Poeai i det ISdv Aarhundreda Oajxinlitijien, Scbubotba. 

3kr. 00. 
KociiESLAVK, &, Gcorgo Sand ct aa fille d'&pria leur oon«Hpo[idaao«. P&rw, 

tlftluiiinti.Uvj. 3 fr. fiO. 

SltoaA, L., LamartiDB du ISlfl k ISSa BIWra et Im mMitMtiuiui. Pwia, 

Mennire de Krancu. 7 fr. M. 
SrxiKWito, C, CorutfiUo. KoiupoKition««tudi4» eum Cid. Uuratce, Uuina, 

Polyeiitte. Hallv, Nicmojrcr. »M. 
ZiLUACuti, £., Den n/ere Franalca pueuin och aotikeu. Uebiiogfan. 4 Icr. 



OERMAXIC LANGUAGES. 

Scandinavian. 

IvHKiHCtuiGU, £., IbwuB FruuoRKcntalteti. Stuttgart^ Strcokor und Schroder. 

iiL 
Lassbk, H., Sebna Lagerl&f og hendwi digtoing. Christi&niii, UeC noTak« 

Aktiefariog. 2kr. 76. 

Oi*no, v., Om Ludrig Holboip Bpialola ad viniin jwriUustmii, (State 
lialvdel af Oni Uotborjpt M-IvlikigniH.) C.'l]r!.->tinniit, CuppDlvu. 4 kr. 

^jTRFTEX, R,, laUtndalc ocb fomwenHk Litteratur, i urvtU. Stockholm, KotBtadt. 

3kr. 5». 
Wauhuko, K,, Carl Stiuitaky. Uaxia lofnad ooh akaldaknp. J. ncfto. Stook- 

boliii. 1 kr. 
WiuiiKJt, L. F. A. D« diiti^ke UuTietuinde«ina>rkor, underaflgte (^ toUcedc tn. 

bd. : UuuGstvDciic i Sk&tic u^ yti Ucralinlni. Co|ietib&giMi, Oyldoudnl 

40 kr. 

Englinh. 

Fakh, J. M., [ ntctifit'CM and rctieiiv-oa in Aiiglu^Saioii aiid Earl>- Middle 
£nglisli. liidtiuiuK^ FuTBt. I dol. 



Neiu Publicalions 



169 



HnftK, \V^ Uiitonucbungcn lur imKiuliwhcn Luutgcschirbtv (Qgdlvn iind 
Farachungcii. 96). Stnoeborg, Triiboer. 2 U. fiO. 

JEHPCRses', O., The GrawUi and Structure of tho Engliali L«ngiii^ IjoipnA 
Teubner. 3 M. 

0U0M>. T. S-, MeUieal Bhnhm. Tunhridge Wells, Polton. U 
pRSi'CMT, E. W., Stippluntnit to the GIoihuu; «f the OiaIe«t of Curaberinnd. 
London, Frowdc, T*. Brf. net, 

Seccxuibe. T., uhI W. R. Nidiii-, Th« 'BonkiiiAn* Untor; of Knglmli Lil«r«- 
ture. Ill 12 PartA. Tiirt I. IxiDdou, Hodder und Stuughtoo. la. ueL 

SkkaT, W. W., IVimop iif Cl.u.iic\l and Etig!i»b Philology. London, Pramle. 2*. 

WniitaT, J., Eo^infa Dinl«<Tt finimnuu'. Cuiupriniig tliir dialecbt of England, of 
Shetland am Orkoej- IkIhihIk, wnd of Unwe {lortt uf Sootluic), Inuuid wid 
Wales where Bnglixli i» hitliiliutlljr s}wken. Lniidoii, Prowde. 16*. »ee 

(6) OM and MiddU Engtuk. 

OfnevnilfH Elsne. Heniuge^eWn voh P. HolthauMu (Alt- and mittol- 

en^uulitt TexUt, fang, vou L. Morabach u»d P. Hi>Utiau«eii, tv.). Heidel- 

\m%. Winter t SL 
SiuUa lUid Uarhvr, Thv Lvgvtid^ of. From « unique ue, in tbo S«»ttiab 

Djjdeut of the Htli vvntury. EtliWd bv W. U. Mubxlfc Puutcy, Ovduor. 

lOf. Gd. nut 
RO«L£R, M., Die KHMsiingoii der Aloxiiii«lciBend« luit Insondeivr Bprlivkxichti- 

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AtDongM the ooDttibations which hare been pramaed. tbe 
will appear in uariy anmben of the Btvi*Wi~- 



• 



I 



E. ASLMfrrtnna, Dante io relauon to the Sports and 

F. BALDEXitPEltocR, Moore et Vign^. 

W. Bavu. Studien zur engliachen T7iiigatig»^Bwlw 

Hcinnchii VI IT. 

H. C. UeEClllxu. The Gardner't Passetaunoe. 

F. S. Boar, /mvb'm HogpUai by George Wilde, an oiqiablnfaed 

Sovt'DU'enth Centurj- Comedy. 

H. J. CiiAYTOK, Lot Afieits of Gimut de Bomdh: nitkal i«xt 
(riHn the Dfts. 

it. l>KRi>cgi'liiNY, Lexicngrephical Notes. 

H. (t, KlRTHJlR. The Dnte and OccasioD nf Shakeeptisre's 

W. W. iinvjii. Siiiiie Puitita of Uniuifttic History. 

U. K. Kahtser. Som« (.)Icl Frvnch Poems on the AnttdiriM. 

W. P. Kkh. Dante antl the Art of Poetry. 

J. LCCH. Heine and Eichendorfi. 

P. W. MiKiliMAN*. tShnkefl[)cfire'» (Jhoftlt). 

H, ()KlJi!4P.lt,The Tranttlntioii of Hcarmu'^ Roman comifutf attriboted 
to Qoldftinith. 

R. PitietvM:il. Netie Fraffoiente aaa dem Pefer ton Stau/nAery and 

dem Huaxtnt. 

L. Kau(i. Humour and I'layfidnew in Dante. 

J. Q, RoBGRTsos, Italian Origiru of Oenoan Eighteeoth Ccntoiy 

CriticiMii, 

A. Salmon-, I^tudcs sur la prunonciation dc TancieD fran^iaie et sos 

inodificatioiu) fn Anglclcrre, 

O. ScHAAft*s, Ein Oxfoider Luth«r- Fragment. 

A, A. TiLLEY. The Authorehip of the Ule Sonaantt. 

„ Rabelais and (Geographical Discovery. 

PAaBT ToYNBEC, Boccaccio's Commentary on the Divine Cotntdy. 

„ Thoiuaa Roscoe and the Memoirs 0/ Benvenuto C^Uitn, 

II. Weeks, The Covenant Vitnen in the Ms. of Boulogne. 
U WiENEH. Anglo-Russica. 

U 



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kttto to I* ' ■•* the Sportu aud Pastimi.4 nf h^Tp^ 

By E. .1: .Sfi .... 

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Volume I 



APRIL, 1906 



Number 3 



DANTE IN RKLATrON TO THE SPORTS AND 
PASTIMES OF UIS AGE. 



I. 

From the outset it niiut be confe8»;ed that Dante is dii tnftdoquatc 
exponent of the sports and poatimt-'S of his age. His references are 
so scftnt-y that thoy mftv bo considered barely worth collecting. Yet 
this veiT scarcity has an interest', becaii-ie it st^ts hia reader thinking 
how it was that Dotite, who siags and writeti of ho many uidos of Italian 
life, should almoot piiRs by in silence ihnso nmiisementa which for the 
majority uf hi« counirymou mado lift wurth living. It is true that 
onntemporary poets provide even lets iltnstrative materinl than does 
Daiit«, but then Cavalcanti, Guinicelli, Cino and the like, in their 
iwnnets, ballads and eansoni l^earing mainly npnn Inve, would draw 
upon sport for the mereat eommonplacL- of inelaphur, the stock-in-Lraile 
of love poets throiighmit all ages. Fnzin Uberti in his THUnmondo had 
belter opportuuilies, especially m in Italy Mport like everything else 
faiid its {lecDliar local colouring; but he is too severely geographical 
Ui be inirtructive. though he does supply one of the verj' few references 
to quintain. A more promising source might .seem to be Francesco 
da Barbenuo's D«t Reyguitetito t de' Coatuini delle Donne. He was 
an exact contemporary of Dante, and his subject is eminently sncial, 
But he is unfurtnuatuly too prudish and duniestic for our purpose. He 
even warns his lady pupil that a love for halls is a sign of vanity, of 
the desire for the praise of strangerB, and though he aUows her to ride 
abniad during the QiiinquHgeiimn. with or without her hii-sband, she 
muat allow uo auuiige geotletiien lo annex themselves to her cavalcade. 
Above all. she is warned, if a nun, to ahun peeping from the windows 
at the games in the- »((UHre (Jinentre e ^uocltt di piatia). and it \» 
precisely these games which wc are seeking. In years long later 
Souta Moddttlena dc' Parzi was praised for such avoidance in ber 
eariy youth, although the (on liberal La,sca had expressly reoom- 
lucnded peeping. It io pcistible that if Ihc popular aermons of the 
H. UH. 12 



174 Dante m relation to the Sports aJid Pastimes of his Age 

thirteenth and fourteenth centuriesat all resemble those of S. Bernardino 
iu the fiflveutb, they might repay the aicre. Chruniclcrs, of course, 
arc- a toain resource, but save such born f^oHsips as Saliuibene, thvy 
say littli; wu aociul aniuacun-'Uts. iiuk'Si tln:y have, as many indeud did 
have, a direct connection with public municipul events. The last places, 
perhaps, where details upon aport wwild bi: naturally fiought, are the 
Statutes of the several cities, and yet for oni; imporlaul spoj-t, and that 
the one which most neai'ly touches Dante, they prove to be the happiest 
hunting-ground, 

Other sources being so defective, it may seetn unfeir to expect 
more fmrn Daut*- than we get. But hi-s own verNitility is to blame 
for our Hisappointment^ If his poetn,' and prose are etorehoiieee of 
theolojf}' and philosophy, astronomy, history and geography — if we 
resort to him for lhL> jiuliticDj, the penjonulities, the hatreds, the social 
abuses of his time — if he has a feeling for natural scenery and for 
uertaiu forinw of animal lift' that fow inedif-val «Titer» possessed, why 
may wo not also turn to him iut an Encyclopaedia of Sport '. 

The forms of sport or amusement for which illustration might be 
soujjht fall under several heads : (I ) the natural countrj' sports, Btihiug, 
fowling and hunting; (2) artificial competitive Ftpxirts, racing on horse 
or foot, or in boata ; football and other games of ball ; jousting, quintain, 
and thu mimic combats common to many Italian towns; (3) non- 
competitive amusements of a. semi-public chfiractcr, thijatricals grave 
or gay, and the pastimes provided by professional purveyors, who, like 
modem merry -go- round pnipriut^jrH, followed the annual cycle of feaitta 
and (airs from town to town; (4) pnvate pastimes, such as singing, 
dancing, chess, druught«, and the very numerous and obscure games 
of chance. 

The hitter two rIaaqcH must here be lightly treated. The Paradixo 

is resonant with »oug, and the spirit dancers thning the heavens. Bui 

the dancing, at all events, is too sujienieusuouu for historical earthly 

use : the Military human touch is that which describes the mox'ecnent 

of a lady's feet :— 

(Vnue hi volm, coii le piante Htrettc 

A tarra ed intia si, donua cho bnlU, 
£ piede inniinzi pii'do a pena melte 

Piirg. xiviii. 62, 

Dante's intimate knowledge of the niuaic of hiit time is beyond all 
doubt'. The Convivio (ii. 14) may be said to contain his theoiy. and 

< For B r<<n:iit wurk <iii Ltiin miliji^i^l see Durili r bi ^Iiuica kj* Anialdfl BaokWDlim, 
IfCfllioru, ltH'4, and a ratiuvr iij C. UoIUigne in Janrnttl dr< Sacani*. iU;, 19W. 



EDWAKD ARMSTRONG 



175 



moreovor admirftbly descrilx's tho absorption of nil the seniutivH fiiPulM'es 
in that of souDt). Thin alKtorption finila itti practical illuH.ti'aliun in 
J'tirgatorio, ii. 112, where Datit* and his master were m content with 
tho dulcet notes of Ctiaelln's song that naught rise could affect their 
minda. And ob they stood in rapt attc:itioQ to the strain, the strain 
which, as Dante confesses, never after left his cars, stem Cnto, as many 
a tutor Binoe, was forcod to chid^? thpin for thtir neglect in not following 
Iho sl«ep pwlh before theiu, which was thai of duty. 

In the Paradiso, vii. viii. and x., are to be found passages quite 
modem on the relation between light and Huiind, and bo the reader 
is t«.ki?n back again to tho Vonvivio. to tho pfimllcl between music 
and the qunlitioH of heat in the planet MarK, The Commtdia 
coDtaios almost every variety of music then known : the songs of 
CasclUi, of Matihla and Amaiit, the duet nf Peter of Aragun and 
Charles of Provence, the solo and ehoir in the Te lii-cis ante, the uniaon 
of a hundred voices in the In Exitu Israel. In the Ayntia Dei, 

Una (NiroU in tutt« em od iin modo 
Si che porca ua oaao ogoi coitcordiik 

i'Hiy. xvi. Sa 

The giiuy of the Pai-adiso culminates with the Ave ^aria. which a]1 
the eompany of the Blessed takvn up in chonis. Uouw^rted instni- 
mcutul tnuaic wiia probably unknown to Dante's age, except perhap 
aa ao adjunct of the dance, but he fully appreciated the accompaniment 
to the voice, a-t in Paradiso, xx, 142: — 

E M>iue ft huoo cantor Ijiwn citarista 
Fa Hdguitftr lo giiieE<> (Ii^Ua ci'rri'L, 
Id chc piii di piiwcr lo cudUi (M-t^uiBti*, 

aod in Purgatorio, ix. 140: — 

£ Te Deum, laadamiu mi parea 
Uclir ill voL'e iiiistA al dokv siioua 
Tale imagioE' Api^iiuiUi ini mnileA 
f.Si'i cW ii> iidivn, -ipiiJ |iroti(Itir hi »mo\o 
Ijunndii IV cvuiLor o»ii iirgnni ni attia. 

Thus Dante is n fiiithfnl exponent of the highest musical knowledge 
of his lime. And yet lo iiscertain the place which music held in life of 
©*crj* day, its domestic graces and its social humomts, it might be well 
to turn to an anthorit)- less exalted. Saliinbeno, the friar chronicler of 
Parma, brings home tin- rejilities of music as a pa.'ttime in the ortlinary 
Italian home Examples of this are his few lines on the domestic 
ooncert in the courtyard of a noble Pisan house which he xnsited while 
begging for his Order, and again, Fra Vita's light, sweet tenor, so 

12—2 



176 Dante in relation to the Sports aiid Pastimes of his Age 

Rlfidly heani by bishops, archbishops, cardinals and the very Pop*? — 
H voice whicli put tu slminu llie must piinuKteiit talker, for nt once 
the phrase of Ecc1e«L:tst<es w^'ni round the room, ' Du not disturb the 
music' Verj' raal in this Fra Vita, so court^mis about singing that 
he never refused on thii plea of twrt.' throat and cold, and belied the 
long current verses : — 

UmnibnR hoc vttiuiii (>st cAntorilniB, iiiu>r araicos 
Ut QunquaTii induutnt aniuins caiitnrc rog&ti. 

Then again there was Km Henry whose voice was better suited for 
the chamber than the choir, and who u|Mjn a time xiuig ao delicionsly. 
that acertain nun who henixl him threw herself out of the window 
to folhiw. but could nut, becJiuHL- in the fall she broke her leg, au thnt 
AS i^gidius of Perugia well eaid. ' It is a great gift not to possess gifts ' 
{Afdgna rfratin est non liabert iiratiafii). 

Che^. draughts, ninepins, knucklebones, dice and various games uf 
chance wherein money wtw won and Wt, played a large jmrt in Italian 
life of Dante's day. Chess and draughts were lawful, and might be 
played in public: Kaechetti hfi« several references to this. But many 
a man was ruined by dicing. Long before Savonarok religious revivals 
were marked by the destruction of the devil's playthings. Brunetto 
Idtini wartiH his readers Ireyond all things to nhnn dice: he will have 
none of the man who throws himself away oa that pen'erting and 
destructive art. Yet he admitA occnKional compmrnise: if you are 
aske<l to ploy us a favour to u friend or a lord, play high, nnd do 
not say, 'I cannot' (t' non pusso); if you lose, look a-s if it did not 
cost you anything, nnd above lUI du not use bad language. Horc 
HcriuuH is Oruigna's lauient that a himdred tongues could not tell the 
tale of his tnntbU-H and the ruin of hiK houI, and »f all the caiim.' vms 
that foul hazard in' h cat/tone la hrutta tara). 

Meanwhile Statutes prohibited name by name the various forms 
of gambling. ThoHo of Pint in Dante's time strove at lea«t tb save 
from such profanation the Campo Santo, the Cathedral and its steps. 
Florentine Statute's were most explicit : ' NuUus in civitotc, cnmitatu 
vcl districlu Florentiiie aliquo tempui'e, etiani ultima die Aprilis et 
prima die Maii et qualibet die totius anni lul ludum zarae isive xardi 
cum tifixillis' (then follow a number of other varieties) 'ludere audeat 
nee stare ad videmlum tudcnl'cs ad aliqiiom hiduiu znrdi'.' The penalty 
was imprisonment, mid before release the culprit must 'cum aqua 
baptiaari et aqua totus perfundi.' Such precautions were of course in 

■ Statala PopuU rl Cominanit FforfntiM, Vgl. n. lib. i*. 98. 




EDWARD ARMSTBOSO 



177 



vain, and even in women a knowledge nf gani»< vran, ua now, regarded 
aa ail accumplishniuiit. an atisct in thi? inntrimonial market. It tempted, 
among other attractions, Fiiio ile Gente of Paniia in 1285 to lure nwoy 
his father's fiancie. Her namu whk Beatrix, an Apulian who lived 
in Anoona. and who ' thusaiiniiii habelwt et erat piilchra doniina, ot 
alacnft, et Bolatiot^a et liberalin et ciirialiH, ct dc hido scaccorum et 
alenruuj uptime novenit.' So Pinu timrriL'd lier, though it is true that 
he afterwards employed a man to smother her with a bolster. ChesB, 
again, is mentioned by Sulimbtnt.- a.s on a leviil with the legal, ecclesi- 
a«tical and administrative qualiti cations of Bishop Opizo of Furnia, 
nephew of Innocent IV. * Hie fuit litteratus homo uiaxiiue in jure 
Canonico el in ecelesiastico officio valde exfjertus, Et do hido scac- 
Dortitn novemt, et clcrieos secnlarr^ multoti lenubat mib baculo.' Yet 
to all »nch vices and virtuea Daute, I think, makes but one reference — 
that in pKryatono, vi. 1 : 'Quando si parte il gino<;o dclla zam.' Here, 
however, tht-re in no lack of realism in Win dcacriijtioii of the winner and 
the ioner, the latter going over his throw.'* again and learning pxperience 
by misfortune; the former with his train of paraaites, one marching 
in front, another plucking his robe behind, a third jogging hi& mcmoiy 
at fai» eidc, and he, never stopping, listening to thiti suitor and to that, 
defending himself from crushing by stretching out a generous hand 
so (hat the recipient may lessen the iittftndant throng'. If Dante did 
not have a throw himself, he at leaat brought himself within the ami 
of the law, and incurred the penalty of total perfusion by looking on. 

The amusements included in the third claaa were incidents of the 
annual feasts in the greater cities, and of the jousting days held on 
special occasions. The miracle \Aa.ys or similar porformances wore an 
inveterate custom in every town, and might have lent themselves to 
such a theme OS Dante's. It is known that the Florentine company, 
vhich in 1304 performed the Day of Judgement with such disastrously 
premature consequences to the H[>ectators on the Curraia Bridge, was 
not a travelling but a stock company, and mnst have in on^ year or 
another reckoned Dante among its onlogkera. But of such repre- 
sentations there spcras to be no trace in the Commedia. Every great 
festival was aMended by profeesioual mimes, mountebanks and musiciana 
in thfHi* hundrtxls. They received rewards almost as high as those 
reputed to foil until lately to their amateur brethren in Anglo-Indian 
circles. Bntnettn I^itini pi-enches against the waste of money on such 
triHciu Floreuiine Statutes forbade their entering the Palaxzo Pub- 
blico (Vol. l\. lib. iii. lUd). Thaet jocutatwts comprised str«ct-nngorB 



178 Dante in relation to the Sports and Pastime's of his Age 

of the talefl »f Roland and Oliver, destined long afi^rwanls to give the 
death-blow U» DantfB poiiiiUiritv, tight-ntpc dmicens. tumblers, jugglers, 
owners of dng!) with a spiiit of diviniition or miraculoiiH insight into 
clianicter, and jierfonning liejtrs. Tu the attmctioas of the tatter 
Dante at letwt was Dot blind, for in Canione, Kit. 71, is to be found 
the conipiLriMiii uf the 'Oreo quundu schcrzfi.' It is poiwible ttm that 
the boa ephippiatvs and the poi'cua liaiteatus of Ihe Oe Vulifari h'lo- 
queitiia may be reminiKcencea of these rollicking Cuurt-days, for the 
riding of a caparisoned ox was no iniL-omuiun feature, and the pig also 
at times played a serio-comte fiart, as when in the piasza at Venice 
twelve pigs woru annually beheii-ded with luuch ceremonial in lieu of 
the twelve canons of Aquileia. 

Another jiopular frolic was some form of sport with bulls. Thia 
was apparently at Rome a bull-fight proper, but elsewhere it was less 
developed. At Veuic<; the bull was baited by dogs. At Brescia the 
animal was let loose by a gang of crapulous butchers auioug the crowd 
of wor-shippere during the mtrnt sntwnn procession of the year, a source 
of exquisite amusement to the lower classes and of righteous disgust 
to the sober-minded. A ludtta tauri was. as early as 127(>. 9ubsidi.'»cd 
by the city of Perugia, while the nuns of Santa Mustiola in Chiusi 
were bound to supply the bull. There was of course much cruelly 
to the bull and sotdc danger to the passers by. To some such scenes 
Dante perhaps refers in the pathetic lines on the fatal wound of the 
tethered bull in /n/pmo, xii. 22; — 

Qnnl i ijtKil tfirn clio »i slfwcin in (jii^IIa 

4?l)n hi ricrviiti) gi^ ') atiifi inoi-ta.le, 

(^in gir iioii wi, laA itUit o 1& aulUlla, 
Vid' io li) Miiiijtniircj ftir (wtak-. 

E qiiPi^li ucforto ifridft ; Curre al vnrco ; 

Meiitro vL' ili iu ftiria b Ijiwn ch^ tu ti otd«. 

The practice of masquerading at these festivals, also forbidden by 
the I'lorentine Statutes, linds one slight refcrrnco in ParatUso, xxx 91 : 

Poi conai; geiit« stata sotto luj-vt> 
Che iM»ro ftltro die prima, k si ovrat* 
Ltt wuiljiutUHt uon nuii in clw dinpnrvo. 

No doubt, ruoreover. the triumphal car drawn by the Griffin 
{Purffatorio, xsix.), which through Pctmrch's Triutiji has exercised such 
on extraordinary inllucDcu upon poetry and art, was a glorification of 
the allegorical chariots which early formed the leading feature of the 
festival of S. fiiovJinni nt Florence, reaching its artistic clima.Y under 
the inittginative care of Lorenzo de' Medici. 




KDWABD AKMSTRONG 



179 



I 



A delightful jHipor by Mr H. V. Tazer illu»trates Danto'n cloee 

knowledge of the art of mountaineering*. Vel though in hia wandering 

life ho gaiaed much L>xpeneiico in briiasting the Hanks of AJps or 

Apetmines, it may be doubted whether he rcgurdcd them as his pluy- 

ground. Climbing wa» probably ratber a painful neceesity than a, 

pastime or a sport. Xor can his line on a roan swimming in the 

Uunbro be taken as a proof that he was fond of bathing. It ia, however, 

hr mope strange that be should show so little feeling for sport proper, 

for hunting, that ia, and fowling, ta&tes ao univcraal in bis age. Aknoat 

all KloruDtinc fatniliea. noble or bourgeois, had their estates or little 

farms in the coMtido, whore brake nnd strcnm moda haunts for beast and 

fowl, wher* hunting, fowling, and fishing were features of everyday life. 

Metaphors &om those were so imbedded in the national speech that it 

vould be impossible to avoid them. In Dante, therefore, they are 

nrcesBorily tbund, but they aro not froquent, though most of the 

characters whom he tntmiliices must have been constant, if not mighty, 

hunters and fowlers. Of the two hunting scenes one is the dream of 

Ugolino, wherein he saw Archbishop Ru^ieri as a master of bounds 

chasing the wolf and its cubs with his lean eagE>r dogH {In/erno, xxxiii. 

2S), The oihor is the graphic description (Inferno, xiii, 112) of Lnno 

and Oiacomo della Cappplia fleeing (rotu the di-mons. Hert? u real 

hunting life — the rush of the boars nnd the smgh of braorhes a» they 

bnfst through the barriern nf the wo«d, behind them the forest full of 

black houndti brmkiug awuy from the eontinviuent of the leash, and 

fixing their tocth in their pmy just na it sought shelter in the brush- 

(Tvod. TIn«C' rt'ferences an? ronlly all, though the dilemma of the dog 

between two ec]uidi<^t4)nt does in Paradiso, iv.. may juNt be mentioned. 

The theme wuuld be the richer if we coiild i>nly quote as Dante's the 

livid lines in the Vatican MR. ascribed to him by Mariu Pelaez (Rime 

anitehe iXaliane): 

SontT bracchettj e olwcciiitor nisauv 

Li^)ri lev&ra cd ia^dar la gcnti 

E d> giii[m{[U Uficir T«ltri currwiti 

P«r belle |iiaggie volg«r o' ntxici'onft 

Amm ct«tlo 

Ko deggia diloctan 

Liboro com 

E vti>n d' iiit«D(Iiiuc«]li. 

Here is proof of the rent hunting 6[)irit, and the making of a true 

hnnling song. This leads forward to the line dithyramb of Niccol6 

^Idaniori, / cacciatori deilu Volpe, printed in Perticari's Di/ena di 

> Sen Mndtrn tMngimte tfuarurtf, i. 271 B. 




180 DaiUe m relation to tke Sports and Pnslhnes t^hi-s Age 

Dante ( Opere, l. 31 7), nnd to n vttry similar fourteenth centuty ptieni ou 
sU^-hunting of unkoonn authorsliip, published by Trucchi, with equally 
S|iint4Hl liiips im fowling nnd fishing — ^the Inttrr ciirioiisiy mwleni in 
chaniotur uiid u tur» t.'xu)uplt>. Direct fruiii suc-b parentage spring the 
venwsof Ldi-enzo de' Meiliei. Laciicvia rfi/a/oon«, which iire the siinnieBt 
reflection of goldoo sporting days in Tuscany. 

Diintp'x refemnces to fowling are nmre ninnuroiiii thnn thn»e aooonled 
to huulitig. 'In x&'m.' he wrilifs. in Purgatwio. xxxt., 'in the sight of 
fiill-flwiged birds is tho net spread or the arrt)w aimed.* Oeryon. in 
In/erno xvji., is comjwivd to the falcon di'scending Kiilkily without its 
prey, while in xxii, is the elaborate comparison of thn N.ivarrpse jobber 
with a duck whic:h plunges as the faJvon stoops. luid then the fight 
between the demons in which Alichino fixes his claws, like a sjiarrow- 
hawk, in hia fellow devil. Paradigu, xix.. contributes the pretty aimile 
of the falcon, when its hood is withdrawn, moving ita bead and clapping 
its wiogH, pruning itself and showing its readiness for flight. This, 
however, is rather to be classed with passages illuiiti'Rting Dante's 
wonderful feeling for bini life — the lark rising anil the rooktt, the binl 
Waiting for the dawn, the stork circling round its nest, the low HJght of 
tbo »wallow», and tbt; snaring of the \dU.\ But wv mu»t out forget the 
picture where iMnte compares himself as he guKod through the green 
foliage to the man who wastes his time in pui3uit of small bittls 
{Puiyatorio, xxii.), nor thv cum^itirison of the whirling spheres to the 
&lcouer'« lure, followed by the lines on the &lcou looking to earth, then 
turning at the muster's ci^', extending it«elf in flight utlcr its quarry 
{Purgatono, xix.), nor again the bird netted by the snarcr's cidl {Inferno, 
iii.). These examples suffice to show that the poet. U' uo keen sporta- 
man, was not untouched by the most pictiire.tr] ue of sports. Yet we 
could wish for niore, and poets contemporary, or earlier, give us more. As 
instanc'Oii may be cited the spirrted sonneta of folgore da San Uemignano 
on hunting and hawking for the months of Fobniary, September, and 
October, and bellei- still, perhaps, those for Friday and Saturday in his 
sonnets fur the week. And even Dante in hiK love lor bird life can 
hardly outdo the song of the iiuouymous lady who lost her liiloon, the 
pathoa of which is quite Catullian: 

Ta^nna ui« chu ntnnvo ii»o Mpon-inrn, 

Anutvul* UuiU^, ch' io ine tm inuria 

A li> richiaiiiu bcii in' era caatiiero 

Ed tinqttft trop|Hi jwiscer no '1 dovla. 
Or 6 tnoiitato o lUtliti.! sf a1tt:tro 

Ed b rtssiw) (ioiilni a un \'pr«iero, 

JS nn' altra donim I' .wen in biJK 



L 



EDWARD ARMSTRONO 



181 



\ sparvier niio ch' it> t' avoa nodrito 

»onat[Iii> d' oru ti tsoea portaro 

Percu ncl acoollar fii«*i piii luilitu. 
Or mi mliUi Miccoiuo ]o rnnro 

Ed fwi voUo li gvU c nni fti^tO 

Qiutiido cri fci'iiKi 111!) t\iv luxaWnrtt. 

R. Lkvi, I.inWi anliea iUiii'ana {IVKt). 

It is notici^ble that' in these few references to hunting and fowling 
then- is nn mentinn iif n htirsc. Thisf nnimal ii]>))arcnt)y did not appeal 
lo 0»iite. When mentioned at all it is alniotit always in metaphor, 
aixl is then reprenentod as a vicioiio, troublefionae bnite. There are no 
touches*, xueh as might be cxpoeted from his lt>ve of iuiimal life, on the 
turn i-.f thi- head, the prick of the ears, the slccknc8s of akin, and the 
gfwx of uioveiuent. The very name occurs perhaps cot more than 
sotae ten times in the whule of Dante's fwetry and prose, and this is 
cxtniordinsry if the importanct of tho horw; in nmdieval (economy be 
considered. The three most elaborate passnjices relate to the fractious 
chamcter which requires govomonce. In the celebrated Hnc^ on German 
Albert Italy i* Ihejiera fella, which has not been tamed by the spur, an 
idea which i« i-epi-atcd in Couvivio iv., where the Eiupcror is figured as 
the 'Cavalcatore della umana volontji. lo qual cavallo come vada sansa 
U caralcatoi'c per lu eampo assai >> maniteiito, e spezialniontc nctlu 
misera Italia chc sanzn mezzo alcuno altn sua govemazione o rima.<«a.' 
So also in Conotfto, iit. the man is more praiseworthy who curbs a 
naturally bad character ngnjnst the irapulsos of nature, jui^t as he is 
the finer rider who controls u vicious horee, while in C(/tmvio, iv. 2C, is 
found tho compnriium of appetite to n riderleKS hnnse, which, even if it 
hv of noble iiatm-e, gous ill without Ihv guidtvnce of tho fine ridor with 
rein and itpiir. Among merF> mcntion-i of the horHi- may be cited from 
Convirio, iv. those who spend ill-gutten gn.in» on banquets, horses and 
turns; thk> children who desirei tirst an appU, th^n a bird, then fine 
niiment, llu-n a horse, and linally n lady-love; the ecclesinsties whose 
Howing mantles eover their palfreys ho that two boasta jog along under 
a single stin. \W might suspt^vt that Dante never ptxssessed a horse, or 
evim nidi- one, unless wi* are to take us fiift the line in the Vita Nuova, il. : 
' Civulcando r altr' ier per un canimino,' or as real regret the cry against 
• inopina |iau()«rtas,' which 'velul effera per^ecutrix. etjuis onnisque 
vucaiitem. jam suae captivitatis me detnisit in antnmi ' (Ijetter ii., to 
the CountN (if Huniena). 

It nuty be thought marvellous that there Ao&s not scum bo be a 
ifinglc rclcreno; in al! Dante to any of the games of ball for which Italy 
became famous. Homer has |m)ved that the theme is not unpoutic, 



182 Dante in relation to the SporU mid Pastim&s of hit Age 

but Dunte'K BratricM.- was nn NBtitticajb. It is difficult. hovrc\'er, to find 
an honest test of Dante's deficiencies, because his contemponmee are 
equally sili^nt. StaUiti's forbid tlit- pliiyiii^ of bidl n^biittr tliin or that 
monastery whU, but tKere is no evidence to show the stage of evolution 
which the gatnu had reached. A century later there ore frequent 
references, and by yet another century dttferentiatinn had prMluccd 
numeroua formn. Riuucciui montioDs several kinds vf fives or racquets 
played along the blind walls of Florence. Only gradually had tho great 
triad of Ituliuji ball-games, catcio, palloti^, and pulla 7>utglia, emei^edL 
Mr Ucywood in his recent bcok. P<dio and I'otxte, states his belief that 
calcio and pallone, utterly distinct iis they became, were developwl fh>m 
a common simple type into the highly elaborate games of the seventeenth 
and oighteonth centuries. This might account for sovera! peculiarities 
in the twn gmiies. The wnll nn one sidi* uf the gniund nr court n>inained 
a feature in both. In luUiaii fcKitball the whole end of the ground was, 
as in tho Winchi-ster g«uif, the gixil. whik? in paitone the mostsncei'ssful 
stroke is oni,' that cleiu^ the baok Hue — which may possibly have tuuHhip 
with the ' shy ' in the Eton wall-game. In both calcio and patlone the 
ball wiuj bnunr^pd into the gnniiid by a noulnil, sis in the old EugllHh 
gatiie oi' ■ hurling.* Mui-eovvr the bail in calcio was known by the names 
pallone, palla proem, palla gonfiata — our balloon or wind-bolL Thiit 
now uned in palhiue is ijuiln luitike those of teimiu or ia«quels, for it is 
made of leather, dt^tended by pneumatic pressure, and is of consicl^mble 
wize. Some (iftyen inches iu diaTuuter, Again pallone in the fifteenth 
L'enturj' was not played, as now, by three a side, but by eonsidemble 
numbers, and speed wju* highly valued. In caiciu apparently the ball 
might lie 'dribbled.' carried, and above all, hit with the fist. Venice, 
however, peculiar in this as in all else, is said to have played a strict 
■ Association ' game, tht' use of handK and arms being disallowed. It is 
certaui that caUio was an uld game in Italy, and tliat Is all that can be 
said of early days, S. Bernardino advised ladies to withdraw from the 
windows wlicu it was played, not as might be prudisiily recommended 
now, bccan.se the players wore shorts, but because they did not. In 
Dautc's own city football haa quite an intereating history. S. Antoniao 
broke his arm at it, 'dum luderet luiln pilae inflatae quae dicitur pnlla 
grossa fregerat aibi bniechium.' Young Piero de' Medici shocked graver 
opinioTi by playing it in the streets when he should hare been attending 
to affain* of state, and thi» contributed to his fall. A few years later ill- 
starred Filippo Strozzi. one of the leading young blottds of the day, 
describes a game at Naples, twcnty-tliree a aide, grey and rose stripeii 



EDWAHD ARMSTHONG 



18S 



againsC }'«11uw and white, in which Antnnto Gimdi broko his anklo. 
Fllippo's i«ons wfre laU-r taken up by tho pnHuL' Ibr pUyitig a (iiBorderly 
game ttmugh ihy struL-Ls of Flurciiw im Christiiuis Evp, in th<? fioHrsc? of 
which ihuy H£)oiIt_>(i u largf quantity of Christmas gomls flisplayc^ lor 
show, and finally kicked the muddy ball against a choleric member of 
the Ministry uf JiistiL-L'. Thwr hiilf-bnithcr. the afterwards cirU-brated 
Letinc StiTnzzi, itiadd- an ineffecMia! attempt to rescue them from the 
constables. During the ait-gf oC FUirctici? in 1527 the yonth played 
-twenty-five a side in fviU castrime ot] the Piazza S" Crxm?, with a band 
on an adjuiuiug hoiwi- to call IKl- enemy's attention t<j their bmvado. 
A pamllei to this vrns n game of piilt(jiie which two bauds of young men 
played ut Siena during the Hiege of 155.^ f«r two hum's or tni>re. while 
the French officers looking on. ' si stupivunu delle iiontre panjiie.' This 
was followed by a game uf puffna at which Muiiluc iiwirly wept for joy 
Ut (toe sitch spirit, but of this spi^irt more hereafter. 

Foulbull then wan nu uu-re vulgar ainusiniient, and in eomjmratively 
fariy times stood high in Florentine affections, though Alamanno 
Rinuccini stutest that in the middle of the seventeenth century it waa 
only played by buys, whereas he could remember bearded men taking 
part theieiu'. The farther it went back, the rougher It probably was. 
reeembling the gume» .-ttill played at Dorking or Derby or Corfe Castle 
on Shrove Tuewiay. and doubtless the rageriea de yroBnes palota of 
Dante's own oge in London, against which Edward U. in 131-1 legislated 
with tiraall eflfect*. Yet of all this Dante is completely lulent : Surely 
A writer who dc&canted upon Hell without a soHtAry mention of foot- 
ball can scarcely hv acquitted -jf wasted opportunity. 
• Even more violent nnd perhaps more pictiirewjue than football were 
the miruir i.'»mbat« of immemorial antiquity in wvcrul Italian cities*, 
The»e were battles ilelibti'mtel}* fought on Hinted festivals Ij«tw«>eu 
different qunrtt-ra of n town. The combatants coitinionly iiiK'd :«tnves 
(ir else their shields ns offensive weapons, while the light-aniioii were 
employed oa slotio-throwers. The defeuKive armour wa.t often elabo 
mluly comp<isei] of wicker and {uulding, but casualties were iuviiriable, 
and fatid aocidenbf nob iincommon. The battle of the Bridge of Pisa 

' BnloKDft. Mill iht^ ctiier t:eiiUro uf jmldnie, (ran txuiiil n.-«pi*clabl(- itnli'iull.v far iW 
'nU<K>Bi<t.' imluM jKiUa tottx ait tpauilfiin iniiri, nliidi was ulwajfl tilftye^ &t«Dg ft 

KiriiUr tiii« tt hotuc*. TIub in iDci-dcDUtU^ iiiiaiti(7Dt.-d la b Ittwouit of lUC, wViit* on 
Mt 5, 1581). Ulovanoi D«otivaglio juKrommd u iimteh ot Omujs veraits Yollows, fifty 
[ft alda. Jiu4 A Mmtnij Uhr TootboU wk* forbiddcti, a> provoking (|QATwlti and Aghts 
IMtaaaa llie guBtry. IL. Fniti, [.n Vila privaUi i(i B<i!nj/ini ilnl itrola liii. <il mii. ViW.) 
* QuoCM by Ui HliPiirinnn in hi* lliitory n/ t'ooiliall. 

' On tlib lubJRct little can be nddnii to Mr llrynood'a AdniitnlilR Account Id Ills Paiio 
aMid t'otitt. 



184 Dante in tvlation to the Sports and Pastimes of his Aff 



I 



was the most celebrated RumTal of this game. In Dante's timu this 
vtHs played, not on the bridge, but in the ])iaKKH. and he must prohably 
havf seen it. for it was a usual day uut for Florfntine holiday-makere, 
at least' for blind beggam and their dogs. Ungmttcfiitly I'nough whea 
Pian was forced to sun-L-iidur in I40f), thu Floreiitiufs v\ta disarmed 
these innocent, if brutal. nthU'tes of their cliilw and shieliK The 
revival of the B|i(>rt, and its tninm Terence frara the iiiazza t« the bridge, 
has been attributed to Lorenzo de' Medici, who did hin utmotit to 
quicken Pisa into uuw social and oconoiuic life. The gauiu was alao 
played at Gubbio, at Orvit^to, when* it was known an Prelinn* de 
iapidibus and Initttd Irom All Saints Day to the bvgiuuiiig of Lent. 
and iit Penipia, wliLTt-' iL wtia atiigularly persistent under the oanae of 
Batiuglia de' ISaasi. Here in NJ72, writes Mr Heywood. the Papal 
Vicar strove to supprL-ss it, and this waa actually elTected by S. Ber- 
nardino, though only for a tini& It is noticeable that the firet gamti 
of the year wiui played on the feaitt of the l;>cal saint, S, Ell'Colano, 
at goremment expense. At Perugia, and probably elsewhere, it beciuue 
on incident in the wcrioun fight between Guelfe and Ghibcllines. This 
was natural enough, because the two factions here, aa at Brescia and 
clsowhere, predominatt'd in separate <)uartcrs. 

At Bologna a simitar game, the ludut gratieulomm, in which one 
party was armed with sticks and the other with baskets of eggs as 
missiles, was prohibited as early as 1306. Thif Sienese Statutes of 
1309-10 mention this combat under the name of Elmora, and docu- 
mcntorj- cvidonco of its existence goes back to 1263. A peculiarly 
bloodthirsty fight Uiok place in Dante's age, in 1318. The custom 
was appFirc-nlly i^ontintied without much interruption, for a game was'fl 
played in honour of Charles V, in 1536, while another delighted the 
French garri.'ion in the last agonies of the siege. At Florence cho _ 
game was very old, but few details are known of it. The Statutes^ 
of 1415 (Book IV. 39) stremumaly forbid citiKene, of whatever condition, 
either to piny at, or bo spectators of, the bellttm de matsii, or to join 
in the stone- throwing which accnmpanied it. But survivals are found 
in the organised stone -throwing by boys, especially at certain so-asons. 
Even Siivonarola only nucceedad in su])preKidng them for a season, by ■ 
substituting raids on their iieighbout-s' tiiieritjs. The custom was itotfl 
confined to Tuscany and Umbria. At Venice two districts long fought 
each other on the bridges, originally with stout bamboos, and since 
1292 with Kticks'. One of those combats wjis held in honour of 

' P. Molmeatt, Sleria dt Venttia ntlla Vita private (ed. 1W6), L 90*. 




EDWARD ARMSXROKO 



185 



iry III/h primngn through the town on his way from Polant] to 

SAlimbene lucnliontt as a laadmiu-k the o{]en gn^iind outnide the 
gaXv&. vrherc the light was habitually held at Paniia. By far the tuost 
eUburate of the early accounts is that contained in the De LaudibHS 
Ptiviae, written aWut 1830 ; this describes in some detail the Buttiolae 
between North and South, which lasted from New Year's Day to Lent'. 
Yet of these games once ao common, and so frequently mentioned alike 
it) law and history, ] have found no mention in Dante, nor, indeed, 
in any litterae huntaniores At all contemporary. Th« abaonce of nil 
reference is the stranger, afl these combats were clopely connected with 
the chief religious festivals of the city. o|U-n with that of the patron 
Saint: they were fre(]uently snhioili-ii'd by the municipal government, 
■nd the opening game of the season was as integral a part of the 
f^tttival as the procession and the otferings of tapers and palii on 
the part of subject communes and feudatory nobles. And when the 
rfcstival wM over, these games were continued for some months, so that 
'they formed no inctmairlemble a feature in m(*dieval Italian lift*. 

Far otherwiste is it. with the more aristocratic jousts and tonma- 
fnonts, and the graceful evulntiuns on horseback included under the 
term hitstiiwtia. Every Italian dynasty on occasion of a marriage, a 
birth, or wime social or political event, held a CoHp. bandita to which 
Mrere invited nobles from all parts of Italy, and invariably astiocinted 
^•ith this Carte was the ceremony of confrrring knighthood. Even 
the republics — Florence, for instance, and in Dante's day — held similar 
restivAls, though th(>rR were not the same frequent occasions provided 
V>y birth or marriage: in republican Italy the wives and daughters 
of temporary president-s did not pose na prinee-tses. Chief among the 
Ont^rtainments were of course the tournameul, and juusL It is needless 
to say that these were not characttiristicftlly Italian. An early case 
Is mentioned at Bologna in 1147, when it is stated that the s]>nrt was 
inlroduced from Saxony. It is certain thai the fashion was greatly 
«timulat«l in the svcond half of the thirteenth century by Charles 
of Anjou. More B[)ocifieally luiliaii. ]>erl)ap8, were the litistUudiu , a 
{)hr:ise which (iomt*time» c;i>mpri.ied the olhtrs, but more .ttrirtly con- 
Xioied the display of horsemanship and skill in handling armH, recalling 
the celebrat4?d werie in Virgil, and known to much later times .is 
iTniy game. The hattiludiii occasionally degenerated into buffoonery, 
[As when at Paniuk the young gentry-, dressed an women, skinnishod on 

' Uaralori. Btmm Italiearum Seriploret, u. 2S: 



] 86 Dante in reJtUwn to the Sports and Pastimes of his Age 



hunuiliack thpoii;fh the tnwn the wholt; night I"ng, thuir faces covered 
with whifflncd ninsks. This, however, Salimbt-ne, though no prud«, 
n-ganlL'tJ a» iDdt-licatu, and, indeed, the men of Panna, as he tells us, 
s[)ent all thoir time and substance on variRtv entertainere, actors, and 
the like. More freijuenlly these evolutions were performed in ettra- 
pliment, as when in 12S2 the Bologneso knights manifiuvred round 
thu carracciQ of Parma on l\w piazza of Cremonn, thinking to do the 
ParniesaiiB a pleasure. 

Most chrooiclera have refereDcea to these hif^h feNtivats, the mont 
celebrated of which in Dautes time- was given in honour of the marriage 
of Beatrix il' Estw to (lalearzo Viscontl. Dante regarded this as a 
mesallinnce for the widowi'd lady, but her latu liusbaud. the Judge 
of Gallura, could not have bettered this splendid festival, the sensation 
of Ihe day, the talk of all Italy. So deeply imbedded in the thought 
and language of upper-class Italy were the ceremony of knighthood 
aod the feats of arms comu-cted with it. that even in the lightest 1ot<< 
jwetry metaphors (mm the lists are fipquent. For the nearest approach 
to actual description recourse must again be hud to Folgore ila San 
Oemignajio in his vcntes on May, thus translated by Kossetti : 

I givu yoii lii^ncM fur your ganicM m Maj-. 

And 'ill of them well truin'd unto tlic cuunic, — 

Eiicli iIduIu, nwift, cnsTt, il );iiinl1v Imrxc ; 
With iirmuiir mi Uinir choitn, nii<] 'ImlU nt \\\ay 
BetHOGii their lirowa, and |ient)itnn fair iiiiit piy \ 

Fine not* niid huuaiiigB nicot fur wnrrioiw, 

Etiil>Ifixi]ii'd with the abicliis _vc ct&ita for joiirs, 
(jnli'M, iir^riit, or, till dizzy at iiooD-diiy. 
And .sjiivint nhiill -•\^\\i, jini) fruit ijn fiviii){ uii 

Fniui liAkxiiiieji «ii(i wKM-'iuwitH U\i iiliiive ; 
And tfiider iIaiiih^Ib with ycmitt imMi itiid youtliN 
Shall kisf togcthor oii tlio clieukH it.nd mauths ; 

Ami every duy be yUd with joyful ttive. 

Probably every gentleman that Daote knew. And most of his 

acfjuaintanoes in In/emo, Furgatorio and Paradiso, belonged to this 

clans, must have taken part in these contests or diaplaya Yet bis 

references Jire few. The most distinct which I can recall is in Inferno, 

xxii. 9, a curious pitssage. because it seems to confound real acts of war 

in the territory of hostile Arczzo with the ftrir tornfamenti e cvri-er 

giostra, which were cheir mimic represeiitativeij. In fji/erho. vii. 34-5, 

the shock of the avaricious and the pi-odigal is a metaphor taken from 

the lists: — ■ 

Poi Nt fdlguH lufLJtc'uiif c^ittinil' vni giiinto, 
Per lo Kuu mexiio c«rohia, all' «)tra giiMtm. 



* 




EDWAED ARMSTRONG 



187 



Aquarone in his Dante an Siena believes that the postre del Toppo, 
which are thrown in Lano's teeth, contaio u refereuct) to the tourna- 
ments of the briffata »pendeoeccia in .Sif>nn.. pxtmi-agnnce in which Ipif 
to Lanos self-nought death ut Piere al Toppo. A pa8sa({« in Convhio 
iv. 27, supplies a hint that Dante rJisnpproved of the oxtmvaganco of 
these dvspots' Court-days, wherein ihe money wrun^j from the [loor 
is si|iianderecl on banquets, gifts of horses, amis, raimpnt and larg&ss — 
a passage recalled a little later by Coluccio Salutati's reproof to 
Petmrch for his presence at Violante Visconti's wed ding- feast in the 
midst of u starving Lonibiirdy, & reproof emphasised by iu cuncUtsion 
that the g(int from whirh the poet was suffering served him right. 

It may be due to this indignation with the abuser of his age, from 
this want of sympathy with its pleasures, that Dante fails to leave 
any impression of Court life, to which, aft«-T all, be was no stranger. 
No dynasty was more lavish in its Court*days than that of Sc&la, and 
even that of Polenta did not shrink from wasting the substance of 
others in the glorification of itself. The whole works of Dante, poetic 
or prosaic, give nu such pictun^ of a great Itulian Court lut the single 
shoit phonographic description of the hum and buzz, the jangle and 
the babel of the palace of Can Grande, in the Hislndis of Dante's friend, 
Uanuel the Jew'. 

Edwaru Aksistkono. 



) Uu\a PelMt, llime anlUh* iUtUtuu. [CotUtfwu 4i optrt intSiU d rart. edited bj 
O. Oudooci, 18B5-) 



LKXICOGRAPHICAL NOTES. 



The object of the following note* is 

(1) bo offer aonii; help towanbt removing thv doiibbs vxpniKsvil 
by the authora of the N. E. D. concerning a few uncertain derivationa; 

(2) to suggest whnt mny be more likely dcrix'atioiis; 

(3) to adduce earlier iustanctis uf E. words. 

Inserted between [ ] arc here givtn the otymolo^eal remarks of 
the JV. E. D. or such extroctK from them as it has appeared expedient 
to place by the side of the now suggestions. 

Accessory, UU8 [ad. late Lat. aoctMsori- a*] — A. F. acccBsorie, 
1309, Y.-liks Edw. II. Selden Soc. ii. p. 138. 

Adjectlon, c. 1374, in form adiecclotm [od. L. adjection- tm\ — 
A. F. adjccclon. 13-t2. Y.-Bk» Edw. III. RjIU Series, 31. li. p. 365. 

Adjutory, adj. lGI2,sb. c. 1505 [ad. L. adjtttoH- »«] — A. F. adjutolre. 
n3th 0. Das Adani»piel, Halle. ISIM. 1. 3H. 

Apportionment, 1628 [f. apportion -^mmt', also in med. L. appttr- 
tionatnent'im and F. apportiontietnent] — A. F. appoToionement, 1342, 
Y.-Bks ErU. III. Rolls Series. 31, II. p. 483. 

Attempter, 15S0 [f. attempt+«r; or a. O. F. (I4th c.) attempleitr] — 
attempteur, 1445*. Second ecrit dw ambaititadmra anglaxA. Rolls 
.Si^ri.-.s, 3-2. ]i. 479. 

Budge, a kind of fur, 1382 [etym. obsc]. — Bogee occurs in on A.F. 
context. 13-I4th c., in Le Domesday de Gippewyz, Rolls Series, 65, 
p. UtO. 

Bull, u prtpai edict, 1297, a seal, 1340 [ad. L. bulla]— \. F. boUa, 
a seal, e. 1245. Puis al escrit fu fiiit giuvrant U la hulle de 8oie pent. 
La Esiuire de S. Edward U Hei, KoHh Serit>a, 3, II. 1612-3. 

Conspiracy, !38li [f. T-At. conxpiratio, with i>ubHtitution of the 
ending -acy. A fiiaigle ox. of eonspiratie in 16th c. French is giveu by 
Godefl]— A. F. oonspiraole, 1308-9, Y.-Bks Edw. II. Selden Soc. t 
p. 155. 



J. DEROCQUIONY 



isd 



Cottage, c. 138ti [app. a. A. F. •cofei^e. (>. V. hud cofd*?* as a terai 
of teud&l law in the sense <>f ba«t tenure]— A. F, ootoge, ISOS-fi, in a 
sense not recorded in N.E.D. : II oiint perdu cotuge et terrage. V.-Bks 
E<lw. II. Selden Woe. ii. p. 72. 

Coursable, n, lt55 [a. F. caurmble currcut (Cotgr.) ?Thst may 
liavo («>unjt'.j — A. F. coursflble I-1I!I, Vutt le Boy ut oauinuiuilL- qo 
liesurtoes nulU? f«iiini« caurmble (= puteyu) dt'iuurge deinz 1*« mures dc 
la citeo. jCtfwr ilfftus, Rolls Series, p. 2S3. The cjaotation cmy be of 
use in elucidating the sense of the obscure word, which seeinn to be 
■ common.' 

Cozen [dtfrivHtion uncertain. C£ the phrase ' to make a cM^usin of* 
?to beguile, deceive...] — 0. F. cosin. a dupe: Son mari !ui r^ndra la 
choHC telle comme etle Uii bailla, couibiau qu'Jl en denionuit loujoure 
le coasin, in Oodefroy. 

Crash, 13S>K [iipp. a. 0. F. croiaair,... somettuieM crm>f{s)ir: in 
Cotgr. IGIl] — A. F. onii88lT or cmisser. 1174-83. Li fer tfntissent, 
e cruMKimt It acier. Chrunit^ue dr. Jurditn FaiUo»tne, Rulls Seriea. 82, 
lit. I. 650. 

Comber, vb.,{:. 1300, [Its pjirly derivatives.. .all 9iip|to8L* for it a F. 
derivation. ? Aphelic foi- encumbet: actnnber. But appt^am earlier. 
Oodefroy cites 0. F. combrer in the »eR)*e of covrer ' to lay hold of. lake.'] 
— 0. F. confcre (K;num as a variant nf cumbte iu ' ma iimtiere est co/iine,' 
Jiobtrt le HiabU, Ancieus Textea fmn^'ats, 49, 1. 3031. Also, O. F. coni- 
brer ^ cotnbter, m '...quer combr^ trova le passage.' IJHieUnre de 
fiuUUtame ie }fardckai, S<K:i5t^ de I'Histoire de Kmnce, 1. 15772, 
A. F. cvimtbl-e. a aubsbautive iu ' vcnelles...nettez eaunz couwble tie 
ficna et de ordure.' Liber Albu«, Itolls Scries, p. 288, oba. E. cuvible, 
accumulntinn, rare, suggests the variant 'coiunhre^ *CHmhre. Are not 
E. CKwii/* and E-CiimJieT, both meaning 'benumb with cold," twu difi'crent 
forms of one and the aame word i. In French ee combler occurs in ' Lc 
cheval...Be wmbla des pieils de devunt et chout ' in Littni's huttoriquo 
B,v. combifT. juid in (Jmlefroy, « solitary instance, where the meaning 
' to Htunibte ' is not very far (Wm that of E, ■ be euml>ci'ud,' = ' be held 
(aat, an in a simigh.' 

Dab, fish, 1577 [Etym. unknown]— Dabbe, 1419, occurs in an A. F. 
.context in: nief ^u meisuo dabbee, Liber AlbM, KoUs ^hes, 12-1, 

236. 

Demean, »b., c. 1450 [f, d^nean. vb.] — Demene. 144©: au demene 
dcB mnlierca de leur dite charge ou coinniiasion, Fremier icrit des 
avibasMdeurs angtaif, Rolls Series, '6i, p. 4^8. 

H. L. R. 13 



190 



Lexicogixtphical Notes 



Demise, sb.. 1509 [app. of A. F. origin]— A. P. dimjae, 1308-0. 
r.-Bks Edw. U, Seldwi Soc. i. 68. 

Direct, vb., c. 1 374 [f, L. direct-, ppl. stem of dirigei-e] — A. V. director, 
1342 in; et le liref est directe a\ Vicouutc: do Wilteacire (tronsluted 
■dircct«d'). Y.-Bkd Edw. III. RoIIk Seriea. 31, IT. p. 299. 

Dispatchmcnt, 1529[(/t»p(((c/ih;f(«if]— Despeclimeiit,1449.i'rei/ii«r 
4<»^t dee tivibimsudcurs unglaia. Halls Hcrics, '-Vl. p, 4^1>i nUo ia Uudvf. 
Lex. But tbe N. E. D. refers tlit: vb. dupulch tu an Itnl. or Spun. 
source, ulraorvuig tliut [tbc date of tbu Ist quobation, 1517,iticnr1y for a 
word from Italian, and atill more so for a word from Spanish. But, 
F. empecher, deit^dar, in 16th c. also despecher, gave E. impeach, depeach, 
also despeche, in Caxtnti depeuhe]. Yet, besides impeciche, imptche, ia 
thca' not Scotch impntthe > This form, it is true, according to the 
N.Klf. ' reflects lial. impucciare.' May not E. ditpaich represent F. 
despesclie, as K. match Kpr&s&uta F. mewhe, imiehe I 

Drunkard, ]5:iCJ \,!runk + ard], r,f?onrs first in form dfonairde — 
Flemiah dnnkaerd, whence V. dronquart, 1521, in Oodefroy. 

Eject, ppl, 1432-50 [ad. L, i»je«-M«]— A-F. eject, I5th c in bodefroy 
who cites Litttdton. 15th c. It is F. rc'&shioDed on Latin. In the name 
manner A. F, eugeiter, engete*; is Englished as «ject^ 1570-6, and engetts- 
ment m ejtctment. 1567. 

Emboli, In-, 1432 [«i-. in■'\■h\di]—^.. F. enbuUer, 1245, in 'ke eit 
tnbulk priviKtgc',' La Estoire S. Edward le Rei. Kolls S«ri»js, 3, 1- 22S4. 
and "etiregiBtree enbvlU,' ib. 1. 2475. 

Enongle, t il 1400 [en + angle\—0. F. enangler, 1 2-l3th c, OviUaume 
le Mar€ciial. Sw. de I'HLit. (k' France, 1. 101(13. 

Entangle, 1540 \en ■{. ittnglg] — A. F. entangler, 1343, in 'granteiit 
qe mesme cele vulente on ces succ^jiciuuFs de eel hour en avaal do 
sermunt myo einpcchoz nentanglet par eux." Y.-Bks Edw. III. Rolls 
Series, 31, n, p. 125. 

Entertainmentj l6th c. [^friertaui +T)j«ii]— Entretenement, 1449, 
Premier ecril des amlmsadeuis anglais, Rolls, .12. F. entmtenenteut, 
Comminps, ii. 57. Ed. by B. de Mandrot, Paris 1901. 

Pounder, sb., 1303 [/«u«d + er. Cf. O. F. fmdsoT. -flur)— A. F. 
fimdur, c. 1245 in ' De plusnr niustcni fundur' La Est. S. Edw. le rei. 
Rulls Series. 3, 1. 2526. Also. 1342, in Y.-Bks of Edw. Til. Rolls 
Series, 31. ii. 

Garnishment, 1550; a legal notice, 15&5 [garnish + tneitt. OC 
M. Du. ritirniA-gemeiit. perhaps froia an unreconled 0. F. word) — A. F. 
gamisBement, 1342, in legal sense, Y.-Bks of Edw. HI. Rolls Sent 
81, U. p. 272. 



J. DEROCQUIOinr 



191 



Induction, c. 1380, ecclesinstical [a. F. inducttim (Mth c.) or a. L. 
induction'eui] — A.V. induoclon, 1342, 'le [jrcaentour deit faire ittduc- 
cioJt: Y.-Bks of Edw. HI. Bolls Series. 3! , li. p. 395. 

Inft-actor, 1524 [a. met!. L...Cf. F. in/rac(<*ii/r(1411J iuOudcf. Com/i/.)] 
— InfVactenr, 14.49. 'II est in/racteitr de treve.' Premier icrit dea 
ambojia. antflats. Hulls. 3'2, p. 468. 

Interrupt, IStli t-. [f. Lai..]— A. F. interrapter, 1S08, in "nient 
wterrnijt^: Y.-Bks E.iiv. II. .Seidell Soc. l. |). 2». 

IntruBC, \h.. c. 1470 [i. Lat.]— A. F. entraserCa'). VHi. in 'et pub 
)e pere MntruM ct (liHseisi Iciiraunt.' Y.-Hkn Edtv. III. KiilU Scries, 
31. II. p. 51. 

Inunction, en-, I4N3 [ad. Liit.J — A. F. enuncciun, a. 124.5 in 
'dttlii'iiHiir. Enimcciuii. e vt-sl«uient.' La Estoire <lc S. Edw. U Bei. 
Rolls li. I 2170. also il. 3920 anti 3925. 

laundatioD, 1432-50 [ud. Lat....O. F. hud inundacion in IS-Htti c. 
(jMirlmpB the iiiiined. Hoiirce)J — A. F. inundacion, 1342. Y.-Bka 

Kdw, 111. k-.iIh .SL-rica, 31, II. p. ayy. 

Lieutenancy, abo lieutenanct, 1460 [lutatenunt + ajicff] — A. F. 
Ueatenancft, 1449. liulU 8erics, 32. p. 443. 

Litmus, a blue colouring matter, 1502 [altered from M. Du. leecntos] 
—A. F. lytomoUe, 1419. Libtr Albas, Rollb Series. 12. i. p. 23H. 

Quittor, ifuittor. pus. waiter, 1207 [perb. a. O. F. tjaiture, ntiture, 
but app. not recorded in thf spociiic sense of the E. woi'dl — A. F. 
qtiituro, o. 1245, has this son-su: Pe sor hoccs In gtiiture De^vut par 
vosCTE- vesture, Za JSst, H. J£dw. V 1981-2; En col nuea [rones] 
gl«ndirc» "ut, KVm c-scrovelo numcr .-ieout Tournocs eunt a purcture 
Aranclu e emtle e a quilure, lb. 1. 2612-5; IsetiOt vorois d^ la quiturt, 
lb. I. 2(i70. 

J. DEROtXiUlGNT. 



13—2 



SHAKESPEARE'S GHOSTS. 



The dramatic ghosC, whose progress through the pre-ShuJceMpwirean 
drama has already been traceil ', underwent, at the hands of Shakespeare 
hiniMHlf. considerable modification. Whereas, in the plays of bis pre- 
decessors, the ghtwt WHS a more machine, a voice mouthing vengeance, 
it now becami- cndowt'd with personality. The Shakc:<]warean ghost, 
as Leasing declared in a memorable ijnswge of the Uavihurgische 
Dramntnrffie, is ' uinc wirklich hiuidelndf Person.' It is ' no longer a 
phajitom roaming in the cold, evoked from Erebus to hover round the 
actors in a tragedy, but a spirit of like iiitelleclual nubstance with these 
BCtont. a parcel of the itniverse in which all live and uiuve and have 
their being'.* In accomplijihing this change, Shakehpc-are stripped the 
ghoHt of it» ' foul sheet' and ' leather pilch.' and arrayed it in the garb 
which it had worn before* mnrtality had been put off; while, for the 
gibherings of the tortures of Tuutjdus la which the earlier Senecoo 
ghosts had taken delight, he substituted the ghosi-beliefe current in 
England in hi^ own tintc. Nor wat this all. In making the ghost 
more human. Shakespeare, at the same time, gave to it a spiritual 
significance of which his predecessors had but a very faint eonceptioiL. 
The Shakespearean ghost is at once the embodiment of remorseful 
{ffeeentiment and the instrument of divine justice. 

The ghost seems to have fascinated Shakespeare already at the 
outset of hi» -career. There lire acveral rcfercDces t« ghodl-lore in 
Henry VI, while in his early love-tragedy, Juliet, after the tidings of 
Tybalt's death have Ixieu brought to h«r, exckiuis. 



O, look! lufltbiiiks I mm my uouiuii's ^oA 
Sooldng out RiiiniMi, tliAt did Hpit Liti body 



Ui«n » rajiicr"* point. 

Act IV, sc. iii. 

With the appearance of Richard ///.ghoHta take their place among 
the acton of the play. In mukiiig the ghosts of Richard's victims 

' Bco ilnitfra language Rn-Um, i&naar;, lOM (l, 89 0.\. 

* ]. A. SjiDUDds, Shiikupeart'i Prtitctttart fn tht UtigUiS Drama, L»udoiii IS&i, 




F. W. MOOUHAN 



193 



confront him in his sleep on tho ere of BoHU-orth Field, Shakespeare 
was following tbv suggestions of his prede<:essors. Thus in Scgar'« 
Btoty of the ' tragical life- and dcuth of Uichard 111 ' in A Mirrof' for 
MagiHraiea H!}ii3). the uuhuppy king declares: 

I tlioiight that ail thiuia murthered gtumtA, whom I 
Br ileiith biul seat to tbeir untimeLy gruve, 
WitU baldfull Dotse About mv Tout rliri crio, 
And of the beav'tie witli ismf (.tirupUint did or&v«, 
Tiifit t]i«; on guillio wr«'C::li nijf^ht vi^ngMtvx tiAvs: 

To wlxitn 1 tlioiigltt till' Juilgn iir liiuiv'ii |;hvd (Mre, 
And gftimt ino gavti >i jud^^ment full of l^nn''. 

la 2'ke True Tragedie of Richard III the same thought reappeeu-s : 

Riekard. Mecthiiilces their gfaoBsts oonio gai'ing fin pevenge, 
Whom I have Hlttioe in rEuu'lnng fur h (.'mwne ; 
t.'!»ren<^(.' comidniniw *ni3 (rrictli for nijrcnge, 
My Nu|i)iiiiM lIuimU, Kuvcrigi:, ruvt^rifju, dutli criv. 
The haadlttaao Peena attmt prorutiiig for rovcnge. 
And every ddo crioo, let tho tynuit die". 

Shiwkespcare goes beyond the author of the True Tragedie. ond 
substitutes fJramatic action for nArmtivc. He makes the ghosts 
nctuoJly appeur, aiid pluccs words on their lips, These ghosts of 
Richard's victims arc Henecan in character, ta that they are represcntod 
aa Hpirita of veitgtunoc. but they depart from Suuoca's ouuiDur in 
making absolntely no reference to the iinder-worM of claKsic mythology. 
For all this, Slmkcspean; subHtituti:s u supcrstitiuu dniwn from 
native ghost<lore ; at the ghosts' approach, Kichard tells us, ' the lights 
biuT) bliu;.' Moreover, these ghosts arr mrmothing moru than Hpint» of 
vengeance. They are conceived by Shakespeare as thu instruments of 
that primeval, amorphous power of Nemesis which will not lei the 
criminal triumph in his wickedness, but demands an eye for an eye and 
a tuoUi for a tooth. In so t«rly a tragedy as Cinthios Orbecahe, 
'''NMoeei, Don,' appcura in itie list of dramatis perst/nae; in HhtLke- 
speare'e plays there is no goddess called Nemesis, but as an uniieen 
force, guiding the issues of the drama, her influence makes ilaeU" felt 
again and again. The ghosts of Richard's victims are forces which sap 
hi? ooiirage ; he sees in them the voicosi of « 'coward conscience,* and 
they sewl him lo the fight with Richmond unnerved and unmiumed. 
The n|i[>t!araiice of tht- ghosts Ui Richniond in a further development of 
the Neraeais idea. SlmkeHpeure drew no warrant for this from bis 
sources, but felt that the words of good cheer which the ghusla utter to 

' llig^imi'* UtnVT/iir JJagiilfaltt, oi. Unalciroud, ISIS. 

■ r*< r^u* Trajfdit 0/ Hiek<ird IIS, uJ. Banan Field (]JllnkMpCiire Sooiity Publl- 
eaUon*). 



194 



SSiakespeare's Ghosts 



Bichmond were the needful complcmoot to tfac meesoge of vroe which 
they bring to Richard. 

Iti the plots of the comedies and histories of Shnkcspeoie's middle 
period there is no ghostly interventioTt. That .Shakespeare, however. 
slili recognised the dramatic value of ghost-lore is proved by occa»ional 
references to it in these plays. Thus the disconsolate Richard H, 
talking of ' graves and worms and epitaphs,' would fain tell his followers 
sad stories of the denth of kings : 

How !U>iue liAte beeii depoiu^), ttouie Nlaiii iu war, 
Some liaunted by the gbosU they Imvo ilejioaoii ; 
&jme ijoisoii'd by their wives; wnie alwping kill'd ; 
All murdered. 

/tieAani /I, Act Hi, ac U. 

AgRiD, in 2 Heniy IV, Lady Percy, reproaching Northumberland 
for his neglect uf Hulapur at the battlw of Shrowabury. exchims : 

X«vcr, Dover, do hia ghoet the wrong 
Tu bold yuur lioiiuiir more pntaiae oiid nice 
Witli oUicm itiAii witli him'. 

Act II, re iii- 

But the ghost is primarily a tragic figure, and it is, accordingly, to 
Shakespeare's tragedies that we turn to find the character and fiinclion 
of the Shakeapoarean ghost fully developed. 

The ghost of Julius Cae^r that appears to Brutus in his tent at 
Sardis rnakoH a greater demand upon our credulity than thutw of 
Richard's victims. The latter, though by the playwright's licence they 
arc seen and heard by the spectiiton*, arc, lik*? the ghost of Patrocluw in 
the Iliad, slecp-phantom-s; the ghost of Cae-iar, on the other hand, 
appears to Brutuu as he is reading in bis teuL Yet there is much to 
show that Shakespeare permits iis to regard this ghostly visitation as 
the hallucination of an overwrought tnirnl ; for no sooner does Itnitus 
recover from the trepidation into which tho ghost's sudden appearance 
has cast him, than it vatii)«hes : 

Brutus. Whj, I will see thee at Pliilippi lUen. [£xit Qk-oH. 
Now I have taken heart tbou vauiahest. 
Ill Bpirit, I would bold in«ro talk with thee. 

Act ir, na ilL 

In Julius Cnemr, as in Richard III, 8hak««peare found in his 
sources the suggt.>i(tion for ghostly inLerveiiiiun. and subjected the 
borrowed idea to characteristic and significant mfxlification. Id 
Plutarch's Life of Brutus the story of the ghost is as follows : ' So, being 
ready to go into Europe, one night very late, as he was iu his tent with 
a little light, thinking of weighty matters: he thoiight he heanl one 



F. W. MOOUMAN 



195 



com« in to him, ant! casting his eye tovurde the door of his t-eat, that 
he saw a wonderful strange and moiii^trous 8hap« of a body coming 
towards him, and said iiyvt-r a word. So Brutus boldly a*kod What he 
wns. n god or a iiioii, and what raiisi' brought, him thither. The spirit 
answered him, 1 am Lhy evil Hpirit, BnitUK: und thou shnlt see mo by 
th« city or Phitippi. Brutus, being no othorwiae afraid, replied aguin 
unto it : Well, then I shall see thee again. The spirit presently 
vanished away, and Brutus called his men unto him, who told him that 
thpy heard no noine, nor saw anything at nil.' Neither here, nor 
in Plutarch'^ accuuni nf the cuiivenuitiuii as tu the miianiug of the 
BppHrition which Bi-utus haUU with Cassius on the following moroiDg, 
U there any KUggextiiin that the 'wonderful strange nml nmnHtmiia 
ahapo of a budy ' is the ^houl of tht* murdered Caesar. This is Shake- 
spcarp's addititm. and in making it. hn brings the scene into line with 
thai of Richard III; in either case, it is the ghost of the murdered 
man appearing to the murderer. He retains Plutarch '.s w»trd.s, 'I am 
thy evil spirit, Brutus,' but, in the light of the fat-l ihat the ghost is 
Coosnr's ghoat, these words acquire n new ami lK)defid Bignificance. 
The Npirit of CiU-sar is the embtxliment of Brutus's sense uf the failure 
and iuiponding ruin of his cause. There is. accordingly, u sinister 
Rtenntng in the gho»it's declaration thflt Brutus shall see him again 
nt Philippi, and Bnitus himself infpnns us that it.s reapfttwrance is 
rt-gardod by him as a tokc^n that his hour is come: 

rii« Khuel q{ Oacaar hAtk «)>}>«Mr'il to uic 
Two several tiuiett by riiKUt, at Siirdia oncc^ 
Aiid Uiii) JAfit iii^lit aerc in Phili|>)ii liuidB; 
1 know luy bour is ootnc 

Act V, »c. V. 

The point* of affinity which the ghost of Banquo bears to that of 
CMsar prompt me to take, it out nf \t» chmnolngical ordor and consider 
it here. Unlike Shakespeare's uther ghosts, it is the porv crentiun of 
hia g«niua, without support from his sources. A ghost is demanded in 
iiaebftA hy virtue of the peculiar constitntii^n uf the ghost-seer's mind. 
The heotje imaginatiou of the Celtic chieftain, which conjures up the 
nir>dr.iwn dagger anil the voice crying, 'Sleep no more, Macbeth 
doth murder sleop,' ovoki'8 by inward necessity the ghost of the 
munlered Banquo, The reality of this ghost is scarcely impaired by 
the fact thai it utters no words. It is wlent, jiwt because, to one of 
Macbeth's temperament, silence is &r more appalling than spt^ooh; 
indeed, when Macbeth, summoning up courage, bids it speak, it vanishes 
away. Yet it cannot, I think, be doubted that Shakvapeare, to u£o the 



196 



SfniJcejtpeart's GhoxUf 



phiTwe of Professor Bradliij'. 'meant the judicious to take Ihe Ohost for 
an baltucioatioa.' lbs two uppearuDcee synehrunisd exactly vith the 
expn.'asionof Mncbtth's h)-pocritical wish that ' aurdpar friend Banqim' 
W(!i-e preotint; its fifHt exit, ati jiuit noticed, falU in with M»(.-b(>ili'K buld 
sumtuoDs to it to speuk, uud its final exit with his oouimaiid, 

HvDce, borribU shwlow \ 
Unreal movkery, liciiuel 

It IB, of couise, visible to the Bp»ctatorx, biit so also are iho skt^p- 
phnntoiuB of Richard HI. The ghosta of Richard's vnclims are the 
figiiifUtM of a cowani oonmnence : the ghoiit of Caesar in the enibodimeni 
of Rriitiis'e sense of the egn->gious mistake he has made in claying 
Caeaar, and of the appro;Lching overthrow of repiibticaniam. Id likj 
miuiniir, the jfhtwt of Banquo is the outcome uf the play of Miicbeth's 
frenzied imaginatioD upon his deep seiiso of insecurity. Here, too. vre 
are prompted to see in the ghoft the agtint of the dread power of 
Ni-me-ais, and as such it is a powerful instrument to bring about 
Macbeth's ruin, In spite of Larly Macbeth'^ heroic enrleiivoure to 
tthield ht-r husband, the suspicious of the Scottish lords are aroused — 
how deeply amused we le-am fvom Lennox's intensely ironical sjwech 
almost immediately afterwards. 

The ghost of the ' niaj«Aty of buried Dcnnuirk ' stands oa a different 
footing from that of ShaktrftjmarL-'s other apparitions. Of its reality 
then.' can hv no question. It it* not the ghost of a murdered man 
appearing to his murderer in the hour of Hlccp, or in momenta of 
nervous uxcitemirnl; for it i^ seen, not by the munlea-r, but by the 
minister tifvengennce. as well ns by difiintHPcsted pi-rsons like Horatio, 
Bernardo, and Marcullus. Horatio has ' fortified ' hisean* against belief 
in the story of the ghont, but no sooner does it appear on the castle 
pjjitfonn than all doubts as to itn reality are swept for ev^r from hi» 
mind. 

We have already Moen that Shakespeare, in hisemployment of ghoirt- 
lore. breaks eutirely loose from the Senecon convention of placing a 
ghost in an atmosphere of elassic myth. Even when we stand, as in 
JuUut Caesar, on classic soil, we are confronted with the beliefs of 
Elizabethan England, not those of antiquity. The ghost of Caesar t*'lU 
us nothing of the tortures of Tartarus*, but at its approach Brutus's 
taper bume dimlv. It ifi, however, in Samlet that Shakespeare makes 
by far the fullest use of the lieltef in ghosts cum^nt in his own day, and 
to th« nature of this belief we must now tnm our attention. 



F. W. MOORMAN 



!97 



Id dtftcuMiDg ihia matter, a diutiactioD must first of ail he drawn 
between the nopiilnr ghnat-lore of England and that secondary ghost- 
loiv which tltf thtwlogiauM of the Middle Ages had (!uiiBt.nift4jd out of 
thvse pupttlar belk'ftL That th<? ghosts of (^HiiiinnU.sincidois, or mimh'red 
pentouH, walked the eiirth aftt^r di-nth. that thoy Rumetinie« (-ntmiK] into 
oonipncts with tfao living, that ihoy appt-nrcd at midnight and 'faded 
<wi thf crowing of tho ci"><;k,' and thnt at their approach the lightH grew 
dim — all this in a part of a primitive ghost-lure couiiuod to most 
K4ii'>>|)i'an nations. In theHe primitive IxiliDfii th« Church of the Mtd<lle 
AguB fi>tinr| siibKtaDtial support for its docU'ine of a pui;galorial state 
and for inculraitiiig the duty of offering up tnaNHes for thu mouIm of the 
lIumL a verj- clear illtwtratiou of the Church's use of ghost-lore is 
fbrnittbrnl by'th*- m»'difval venw romancR. The Awnti/rf of Arthurt^ at 
tliM Tame'U'afJtetun^, in which the ghu^t of Quinevere's mother appeare 
tn Quinevcn> and Gawaync, doMcrihe?!, amongst othur thiiigH. the paintj 
of Purgatory, and declartvt, — 

Woiv- thrittji trvtiti-n of maflM dono 
tictwyx viidur nad uoue, 
JAj aaule were oucurt fu] naae. 
And Wo3to vtftu b]}r». 

The asBociation of ghoet-lorc with the teaching of the Roman 
Catholic Church brought tho whole tuatter vt-rj' prominently before 
men's mindu at the time of the Kt-formation. Mr T, A. Spaldiog has, 
in his Elitabethan Demonology, drawn attention to the polemics of 
Batht>lic6 and pn)teetant8 on th<- gho^t (fueNtion, an well a.t to the light 
which these polemics throw upon the Elizabethan drama, lie quotes 
^inawgua from the writings of Archbishop Parker and Bishop Hooper, 
and ahw) from the Demonolvgit of King James, as illustrations i>f all 
this. A study of the Parker Society volumes reveals, indeed, the fact 
that the que^^tion of the nature and origin of ghosts wao, at the time of 
the Refonnation, one of considerable inenient, The n,'formers. recognis- 
ing that tbe>ix; wa« scripture wammt for the belief in ghosts, never 
vrnturud to question the reality of ghostly visittitions. Their coo- 
lention, hoWbtvor, was that ghuHU were not the spiritx of dead luen, but 
tjiitni floatations of the di-vil, Cmnmer in England and Bullinger in 
SMii?ATlaud argue this point at great length, and add force to 
Uirtr orgunientH by quoting Tertullion and Chrysostom to the same 
**fl^t. That, the discruKKiun was a protracted one, i« shown by King 

les's absoqition in it in bis D«monol(fffit, and by the liict thnt to the 

■ Edited hy Bobauu (CkdiiIcd Botdtty Pnl>licktioiiii|. 1M9; 



196 



Shake^are's (rfiMt^ 



I6fi5 edition of lleginald Scot's Discoverie of Witckcrti/t then; was 
added an apijendix, (mtitled ' A Discourse concerning Devils and SpinW 
dealing nt some length with the question of the natur,> of 'astral 
spirits.' While theologians disputed, the ghost ciijoyiid a popnlority 
such as it had never known before. We have Been something of its 
vogue in the Etizabethun drama ; it occnpii^d a distinguished place in 
the non-dmiiiatic poetry ol' the time, and foi-ced an eutmncc even into 
the populiir chap-buokK. Thus, when the aiiunymoiis author uf Rat*ctt 
Ohont (IGOG) essayed to relate the highway rublieries of the newly 
hanged Gamaliel RatRcy. he found it necensaiy t'O encase the whole 
story in an elabonbto framework of ghoat-lore. 

Tlie most elalx>rate treatment of this theological ghnet quc»tioii is 
thai funiishod \>y the Swiss protcsbint rt^funiicr, Louis Lavater, in hi» 
work, De Spectris. Letnitnhm.... published at Ziirich in 1570, of which 
an English tranidntion, with the title, 0/ ithostes and Spirites Walkincj 
bif A'iyht, ap[)eared in London in 1572. So direct is the bearing of this 
work upi^u ihu ghost scenes of Hamlet, that euuic detailed exomiuation of 
its coutenta seeois desirable. Writing from the tstrictly protcAtant stand- 
point, Lavatcr acknowledges the existence of spirits, and declares * to 
whomc, when, where, and after what sort spirits do appear and what 
they do work.' They appear ' especially in the night, and before mid- 
night in our first sleep,' being chiefly found ' in the field«s where battels 
have been fought,' in places of execution, in woodsi, or in the ' niins and 
rubbish of castles.' iinch spiriti show themH(>lves ' in sundry sort, some- 
times in the shape of a man wbome we know, who is wt alyve or lately 
dejiarted ; otherwhiles in thp Itkenesse of one whom wo knowe not." In 
the second Part of his work he declares iit full what is the Popish 
doctrine concerning tmch Rj)irit«i. The Papists declare that they come 
fmni Purgatory, and are pennitted to walk tho earth for a season. 
' for the instnieting and terrifying of the lyving.' They mainliiin 
that theae sjiirits "do not appearo nor answcare unto every mans 
int«rregatories, but that of n great number they scanttie nppeare unto 
one.... And yet they hold that no curious, unprofitable questions shold 
be demanrlerl of the spirit except he wold of his own accord pevele and 
open them. And yet it wor best that sober persona shuld thus question 
with him on some holy day before diner, or in the night scson, as is 
commonly acauNtomed. And if the spirite will shewe no signe at that 
^me, the matter shold bo deferred unto some other season, iintill the 
spirite wouldc .shewe hymselfe agnyne.... And farther they say thai we 
neede not to {e&iv, that the spirit would do any bodily hurte unto that. 



K. W. MOOKMAN 



199 



pM'Bone unto whome It doth ajipeare. Fur if such a spirit would huri(< 
any. ho might jtistJie be suspected that he were no good spirit.' Tho 
Botnan doctrine as to the duty of rclievinjf sucli spirits in declared a 
little further on : ' Thtiy t^^'ach that it is »ti horriblp Jiiiti heynous ofl'ence, 
if a in&o give no Huccoure to Ktich us seeke it at his Imiids, t!it[)ecially if 
it he the soule of his parents, biethreti or Bisters.' Having set fort,h the 
Romish (loctrine, T.^\'at(*r pruceedn to demolish it, uud U> show thnt theete 
visions »nd spirits iirv ' not the muls of deiid men as sotuw men hare 
tibought.' but 'either good or evilt AngeK' nnd quotes from Scripture 
and the FathL-rs to show that the devil has ' power toappeare under the 
shape of a liiilUfitil num.* 

Without going so far as to consider Ljivater's work the source 
wherifi- Shukes[w-Bre drt-w the ghatt-lort' of his Hamlet, it will. I think, 
he allowed that the drauiiilist was profoundly intiToslcd in this dispute 
of the thuologiuns, and that many of the doctrini» set forth by the 
Swias prutestant 6nd an echo in his inigedy. He makes use of the 
Reformatioi] ghoxt cjucstion, both to fiiniiKh his ghost*ciceue» with an 
atmosphere which should take the place of timt mephitic air of Tartarus 
through which the Si-iM-um glioat njovcti, und also to throw fresh raya 
of light upon the character of ibunlrt. When confronted with the 
catholic an<l the pmt(,-fltant doctrine oh tn ghouts, Shakrapuirc at once 
chooeee the former — a choice which in no sense proves him to have 
been a catholic. To have represented the ghost of the dead king as 
the devil, or as auy thing but * an honest gho&t,' would have brought the 
wboto play toppling down like a pack of canls. Yet Kaiulct, on thti 
gbotit'fl first appearance to him in I, iv, adopts a distinctly protestant 
standpoint: 

Be thou ft spirit of health > or goblin duua'd, 

Brine with tbee aim from lioav«o or blasts rrom h«ll, 

Be fby intents «inkmi or ebanbihls, . 

Tbon oomest in such n qiuN«tion«lila ahapo 

That 1 will spMJc to tlice. 

Act t, BO. iv. 

Bub then, feeling the iiuufHuiency of the protcstant dogma, he talis 

back upon the catholic, ami adds; 

I'll vnll lJ]i« llamK 
Kill);, btber, roynl t>aii« ; O, anawur mc 

In the converxiUioii betwuen Hamlet and tho ghost in the following 
scene, the latter, knowing the iustnbility of Hamlet's mind, emphasizes 

' Mo«l odium litlerprHt ' &|ririt nf bunllb ' m ■ he*l»<l or tavd ipirii.' Tke phnM, 
bowoitr, elenrly OieMis 'kd<^ niKvl.' Hiid th« iwtm falls at aovp inU> lhii> witb tb» 
fr«lMl*al dootrine tbftt the (pirits thai WBl3i«d lh» tuth ««m dther good or eril uigsU. 



200 



Shakespeai-es Ghosts 



thi* fact that be is. in very truth. cunfronUnl by his Other's spirit, now 
donnuid to fast in purgatorial fireit, until the crimes done in bis dayv of 
nature are purged awuy. and nbie, if ^iich thingn were but permitted, to 
nnfold « talc of the horrors of purgatory which wnuld harrow up Haniltjt'it 
soul and freeze his blood. Sui^h s declaration sweeps from Hamlet's 
mind every doubt as to the nature of thi^ ghotit : he placett implicit trust 
in its storj-and takes upon his shoulders the heA?y burden of vengeance. 
The subsequent development of the action nhows how ueceasarj' it was 
for the ghost to make iu identity ubj^Iutely cluitr to Hnnilcu For the 
latter, Hhrinking from actjou, evcratrinng to place new obnfcac!<« between 
hiiii^-ir and the dt:ed uf vungejutci;. xccks in proteataut doctrine a covert 
to which he may 6ee to escape from the call of duty : 

The spirit thitt I have accn 
\liiy Ihi tilt! devil. 

Acb n, Rc ii 

In suffusing the ghost-seonca of Hamtet with the " local colour" of 
catholic and pnite.Htatit doctrine, ShakeHjieare had nocomplished only 
half of his |»urpo8(?, Ther<? still remained the task of bringing out lUe 
peranriality of his gho«t, and of representing it ns a moral and intellectual 
being, capable of enliitting the Hpectator'a nj'mpathy. The nccpsaity for 
this was all the greater from tho fiLCt that, whereao the spectator ia 
ac(iu»inte<I with Bancjuo and Julitiii CiLenar ami Richard's victims as 
living lieings before they appear as ghosts, the death of Hamtel** iathur 
precedes the opening of the ]>lay- Thr* first impi-cssion that the ghoet 
makes upon us, as it appears to Horatio and the others in the first 
scene, is that of n great warrior king. U moves across the ntage with 
martial stalk ; its armour of complete ateet is that in which the dead 
king had conquered and i»lain old Fortinbnis of Norway. Its fair and 
warlike form is it» majt-»tic-id that MarcelluH recognisesi the wrong uf 
offering it a show uf violence. On its reappearance in t. iv. we still see 
the majt»ty of btiricd Denmark, but also the jfriiciotiH ttoltcitiide of the 
father. It waves Humtct aside with courteous action.and. while enjoin- 
iog upon him the sacred duty of vengeance, ts also concerned for hia 
spiritual well-being. Knowing only too well that guilt must be burnt 
away by the Hetcc Bn:^ of purgatur^', lis strict injunction to him is. 
'Taint not thy mind.' 

But fur inoru- atriklug than the ghost's fatherly solicitude for Hamlet 
in the tenderness and love which it shows to the queen. Gertrude muy. 
or muy not, Imvu been guilty of robbing her husband of life, but she 



F. W. MOORMAN 



201 



had certainly robbed him of honour whik life vog still his'. Vel he 

bad loved her with s love 

of tlw-t dignity 
Ttut it wotit hiiiitl til hnrii] itv«n witli the vnw 
I nude ta hot* in mnrriAgn. 

. This lore still «ndun!S, aud hid .KLrict command to Hamli-l, is — 

nor let thv aoul ooiitrivc 
Agwniit thy mother mi^lit: Iravo her tn b<4ivcii, 
And to ttiudcr thorim thnt in her buw>iu ]i"J)^\ 
To (iriLik riini ntiiig; livr. 

On the ghost's reappo;ir«nce in tli, iv, this love and tenderness flame 
forth anew. HaniU-t haa ignorwJ Iiis (Bthty^s injunction not to con- 
trive- o^^nst hLs mother, and, at. the moment when the "gracious figure' 
uf the ghost appears, he la stahbtug hur tu thu heart with repnjHcheo. 
until, in Hgony of soul, nhe cries: 

O, Hiwnk t<i 1110 iiu m«re ; 
Thau wonlK liko d/^uom wiUt hi tniao eawj 
Ko inorc, Hweitt Haiiiloc.. 

With a tender ri-gm-d fur GL-rtrudi^'s feyling!*. thi' ghiwi inakcti 
itself invisibli; tn her. Thf? object, itf this visitation. ,ns Hamlet 
knows full well, is to whet his almost blunted purpose; but no sooner 
does the ghost eee tho muiiW siiH^ring which tlortnuh* is enduring, 
than it qujutly puL^ OHidr at.-ll'-inlL'ri»iUi, and, muvud by r.hivalmua 
solicitude for her welfare, bidr! Hamlet relieve her pojgmmt thrilli^ of 
ogony: 

But look. aniaxcRitrnt on tli.v mollicr ait«; 
0)1, Il^f1l between b«r Hnil 1i«t tigLtin^' soul ; 
Coiii^i^it in vivaktsiX. btxlicx ntruiigwl wnrkN ; 
S]>e»k to her, Humleit. 

Act m, AC Ir. 

The ghost remains upon the scene a little longer, listens to the words 
which Uandot stpcak* to his raothtr, and gazes up-'n wife and child with 
oyee ifo full of pity that Hamlet fears lest Ihey may 'convert, my 
stern ejects,' and call forth tears where blood ubould flow. At last, 
seeing that Gertrude has won a cii-rtain mastery over the tortures of her 
mind, and without ftirther reference to ita own most pressing needs, it 
silently steals through the portal. Thus, for the gibbering ghost of 
Senecan tragedy, Shakespeare offers as the warrior king, the gracious 
fother, and the husband who bears with him i<-> the abode of spirits a 
lovo for a laithlcs* wife which hoii triumphed over crime and disboDour 
and death, 

K. W. MOORMAX. 
■ 8«K I, T, II f. Bad Piof. Bnwilej. ShakeftaTton I'^gfily, p. 1G6. 



NOTES ON THE LANGUAGE OF BEOWULF. 



THKlanguagcof jBeowi(//"is, by no TnciinB,ft pure West Saxon dialect. 
Though, as a whole, it may be deacribud as W*?st Saxon of the tenth 
century (the pt-riiwl to whirh thi' Ms. jinints), n large numbt'r of mm- 
W. S. Tonus aro Imbeddt'd lu tho pucm. Tliosu bwu-W, S. furius have 
been ingeniously iwed by Ten Brink in Hii|)|Kirt of bis hypotb«ie« as 
to t.h(' Mi-TL'ian and Kenliiili vyraious of tins poem. Symuns (Paul's 
Grundriiis. HI, p. lial). on tKi" nthpr hand, gocR .■'o fiir as to de»cribe 
tlii' ruKultH ol' ibe higher criticism an highly unwrluin. maintaining 
that ' die Frage. welcheni der anglischen StAmme die Ausbildung der 
Sage ziifallt, ist kauin entwrheidbai'.* It is piYtbable, however, that a 
ticii.<nlific study of the uiaterial will uttiuiatt^y throw light on these 
problems. The difificcilty of distinguishing one non-W.S. dialect fiura 
anothi^r is. at prL-senl. tht- chief stumbling-block. In the fullowinj^ 
article nothing has been attempted beyond a partial 8un.'ey of the 
niaterialN — a cooijjU'le aualysis of the elements in Beowulf Htili rpmaina 
to be undertaken. 

The abbreviations adopted ait: — P. Or. (= Paul's Crrutidris*). Ten 
Brink {= If^oivid/'Unkrsnchitttgen. 1888), S. (=Siever8' Old English 
Grammar, trans. Cook, IDOIl), K, (= Btilbring's A Itentfliscfies Elementar- 
buch, 1902). Sw. (-Sweet's A.-S. Header. 1894). Forms marked with 
an asterisk have b«en slightly emended from the MS. The numbers in 
brackets refer to the liu«s of Holder's edition. 



I. The W.S. Element. 



(o) I-umlaut of la to te wy. 

The appearance of le or y n» i-nmiaut of oa may he taken us a 
characteristic W.S. fcaturo. Of this there aro some 231 examples in 
Btowvlf. The following are among the examples: — hyrau, ylde. gegyr- 



p. 0. THOMAS 



203 



■wan. wylma, ylfe. uniljme, syrodo. hj'nBu, forwyme, geljfan, bcstyiued. 
n^d. geflymed, fyl, yrfe, byldftn, nyhsUiii, ynolic. ahyrded. wyrgenne, 
^m^B. geyyfan. gtalyhtn, fSe, gewyrpte, fyrd. lyhO. 

Palatal influence has produced i in : — giat, Uges, ciht. aiiht. 

(6) T'limiawt of in as ie or >/. 

Of this aecoud W. S. L-liaraelpristic there are some 64 exam](le8: — 
d|^gel, dyro, wj-rfte. hynlp, iinsyn, g**8tryiian, tfne, tijwe, unhyre, 
yrringa. yrre. 

With Iflter palatal influence : — wrixle, Uite. 

(c) io at opposed to To forms. 

All To forms aro not necessarily noD-W.S., but it will be useful 
to show the propuriion of such forms. Ten Briiik <pp. 2<18~9) has 
alnady laid stress on the fact that the in forma niv )if much more 
fre(|nent occurrence in the later purtiuim of the ]K)em. It is i-emurkable 
thnt up to the point where the first hand ceases to n|)|)ear in the MS. 
(1. lyai)), there Hre hut 11 examples of lo as agiiinst 78S of 5o. From 
ibis point to the end of the poem there iire 117 examples of lo as 
fflgkinst 482 of ik>. The total numbcT of So forms in Bfvtcalf is thus 
1268, of m 128. 

{d) Nasal injtu-mce. 

This, oguiu, is no tc»t of dialect, hut presents points of gcDcral 
interest. IJefore m and n short a in Jlrotffut/ appears as eithnr a er o. 
Ool of 2+3 words examined. !Ui show a, the rest o. This fact lends 
•dditional 3upi>ort. to the theory advanced by Wyld, namely that a 
and o lK;fere wt»a\a are used pretty ruuch according to individual ttwte. 
Examples of |xinJlol ibniis are : — bcgiktig, lje^(;ng ; buna, bona ; cUmm, 
etoinm; gamol, gomol; gehwane, gehwone; fwrSaii, fortkin; lic-hama, 
Dc-homn. ; samod, aomod ; wnng. woog. 

ie) l.W.S./arme. 

The gen. sing, 'wintiys' represents L. W. S. weakening of final -ea 
(B.§300). 

Of verbal forms ' buon ' has an infinitive in -on. -on for -an occurs 
in the noun ' ha-fton.' and in the advurb ' nPon.' 

LW. S. y for i appears in: — jjysne. I'ysses, Jfyssum, ys, by5. synt, 
syndoD, nymctJ, swjinman, ewyneian, swylc, hwylc, scypon, syngales. 
drync. 

h.Vi.8. y for eo appeorfi in ' syfiin-wintre ' and in ' g^'fcncs ' (S. § 106). 



204 



Notes on the LaJignfUfe of Bfownlf 



II. (ij NoN-W.S. Elkmi-nt. 

(a) BvtoHat mtmen. 

SjmflTM (P. Or. III. I*. G6I) has poinbed out that namea oommun to 
i/rutfiif/* aiid the Ntirthumbriau lists ore of non-W. K. origin. Cmniimin 
t»i /(f(m»ii/f' nnd the Liher Vitae are: — Wiglaf. Heurdn-d. Hiiiuft. Offa. 
Hrrvbiihl. Liher Vitae abti has the names IngiM (cf. Ingcld), Hygluc 
(cf. Hygcliic). Buuwulf (cf. Bei)wulf> Cooimon to BfowtUf and the 
Noiiliiirnbrinn guneaJuglut arc: Finu, Hn'>Siauiid, and lurmujirii; (c£ 
ILoniwuiric). 

(&) OmmmuHcal furma. 

A g»<nil.ive singuUr in -as occurs in the proper names 'Merewioingas ' 
(8021) and ' HeaCo-Scilfiiigaa' (63). ae well as in 'yrfe-weanlan' (2453). 
Snoh gi-iiilives occur in North umbriao, Rushwurth', and sporadically in 
UW.S.(S.§237). 

The verbal fonns ■ hafu, hafo" (2523. 2150, 3000) and 'lul-liwttu' 
^S(I(Ift) jireserve the archaic landing nf the 1st tting., pruR. iitd., genrralljr 
Itmiid in Anglian texts; forms lUcf "httfaat" (5 times) and ' ha(aC ' 
(0 tiiQL's) are also rare in W. S. In the imperative 'wa?«' (407) we 
havi) a Northumbrian tVirm (S. § 427). According to Sifvere (§ 408), 
'ftiwcfl' (276) and 'geeawed' (1194) arc probably non-W, S. fornu. 

(e) NaTrowiny nf a- to p. 

This phenomenon occurs in: — rdi'utn (742). foIcrCd (3004j), gesC^n, 
gMfigan (3128. 3038), ««le (1135), eStan (ie02). w?g (3132. li)07X Won- 
rtVlcs. -reding (2y71. 2l)(i5). geft*gon (1627). Kgun. jJC-gon (26!«, 563). 

Cf. with the abovi^ torms the following also found in litxiwulj': — 
niCl, siL'fcoii, wivg". gefibgon. ['iiegoii. 

(rf) Absence of breafi-iiiff. 

Unbroken a before r + cons. occurs in 'hard-f^ide* (2245). 

(e) Xon- ir. S. breahing. 
Non-W. S. breaking of « before l + con*. occurs in *»eol&' (3007). 
S. § 31. B. ^ 133. 

{f) Absence of jialatalisaiion. 
This distinguishen m iion-W.S. the forin'giest' (102, ISOO. 2073, 
231-2. 2870. 2US19. 1331, 1996). B. § lo6, S. § 75. 
Cf. gist, gieat, gyat (7 timea). 



p. G. THOMAS 



205 



(g) 2fon-W.S. u- ora'vmlant. 

u- or a-umlaut uf e to to occurs in : — eofoSo (where Northumbrian 
CO appears for ea. 2234), totoniec, cotonisc (207!), 1558), mooilii. iiiL-iKla 
(5, 1643. IfiW), 1902, 638). mcoto (489). meotud (1077). weora (2947), 
^.j&m <2972), geufa (2900), geolena (1 173), geofurn (1958). 

Of. clonisr, inoodu, -o (U tinifs), metod, wera (4 times), gifu (4 
timetiX ^gifiui, ofgylan. 

i (0 Ml («>) in:— freoOo, -u, fHoCo, -u (851, IKS, 522, 2059. 1942, 
22S2, 1086. 1707), hIeoSii (710,820. i:*5S, 1427), gi'wiofii ((i97). hlftoiiian 
U415), leoEh) (1505, 18J)0), liwtaB (074. 1306, 2008), tk^an (SlltO). 
scioDOD (303), 8eo5»an (1775, 1875, 1937), cliofu (2540), looiniini (97). 
weotena (lOfm), wrculien (I60S), nioBor (2699). 

Cf. friOu. hIiBo, lifaB. lyfiiB (3 times), witena (3 times), niJ»or. nir]»or. 



(ii) ANGLIAX El.KMrNT. 

(o) Unbroken ft before lA-cons. may occur in ; — alwnliin (31(1. 9.55), 
anwalda (1272), balwon (977). luitdor' (2428). bnlde (l(J34). nidor (5(i, 
809. S92. fi68. 15. 718. 805. 1587). aldre (346. (561. (iSO. 055. 1434, 1447. 
1469. 1478. IS24, 1779, 2005. 2498), aldrcs, aldruin (822. 1002. 1585. 
510. 5:t8>. hah (208. 1566). waldend (1()61. 1693, 1753, 2741. 2875. 183. 
2292, 3109). fiiildn- (30.52). 

Cf. olwL-atduu, bculdur, uoldoi- {18 times), Heals (9 tinieB), wealdend 
(3 times), gealdor, 

It nhoiild, however, be noted that AelCred has au-vcrol e^umplus of 
UDbrukun a (B. § 134), 

{h) i'Hmlaut of'ea M p occurs in :—|fe9cne (1244), 55- (1110. 2861), 
iSBc (2586), Iflg (3115. •3145, 2549. 3040). nOdlan (2223). ftg (677, 
•2893), hMige (3165). These forms may also be Kentish. B. § 96, 
§184..S.§159. 

Cf. gesync (7 times), iaSe (4 times), 6aC-, yffe (twice). JC-, Ug 
(10 titues). 

(<) %'Hn^aut of ea before r + cofut. may ooctir in: — werh8o (589), 
wcrgan (133. 1747), uudiTiio <29U). w-rce (2339. 27.i5), mc-rrels (2430), 
though n wmilnr phonnmenim is found in Aelfred and Awifrio (K § 170). 

Cf. (inilyrne (4 timOB), syi-et-' (7 times), 

bt/ore i + i-ons. in 'eldo ' (2111) and in ' cldiim ' (2214, 2314, 2611, 
3168), which fbrirut may also he Kentiah as Ton Brink ht-'ld (p, 240). 

». L. n. U 



206 Notes on the Language of Beowulf 

Cr yldo (5 limos). yida, yldum (6 times). 
Alto in wielm (2^46, 2l'35. 20U(J). mid (1280). 
Cf. wylm, seld-. 

Ill iiioi»l uf thL-m; wordu ttmuothing lu v or lu hod tiUcon place Wfon* 
i-umlaut (S. § ltf2. note h). 

(rf) i-uni/(juf o/'tu uccurB iii ' porrps ' (1447) S. §100. 

Cr. yrn* (8 times), yn'inga (twice). 

i'Umlaut uj In possibly in :— diom (I94fl). dCore (2230, 488, 1528, 
IH7H, flfll. 1303), di'ugol (275), h^rii (1372), uiihiore (2413), unhwni 
<«S7). ukiwaii (ITSO). fowpO <1738). 

Cf. d^ro (4 titiies), dygel, unhyre, niwe (5 times), niw-, geniwnd, 
•od (3 timun), ywdc. 

Sitrh fifniiK, licwevur. iiuiy also be Kentifib, aitd are not unknown 
to LW.S. writers (B. § 189). 

(«) Smoothing of en to e before rk occurs IE ' ferh ' < * •feurh ' (2706) 
imd in ' hl€or-bergc ' (304). 

hefort h in guliUti (30115), where i-umlftut haa followed, S. § 164. 

Cf. giohtio. -ginhBc (2207. 2793). 

wiffer-nehtee (303) may be u Northuuibriau fonu. S. § 164, B. §207. 

(/) SmocOiififf ofato to <» be/ore h occurs in 'geffihtlan ' (369) and 
■gowhted ' (1885). B. § 20S. 

Cf. eahtode, eahtedon. 

before rg and rh in 'hergiim' (3072) and ferh < •fieorh (305). 
S, § 162 

Cf. "hterg-trnhim (l7o}. 

(iii) MEBcuy Element. 

(a) a or a-umluitt u/a. 

This is the most charact<>nHtic feature of Mercian, and occurs in : — 
eafera. eafora (12. 19. 897. 375. 2358. 2992, 1547, 1847, 2475. 1185. 
1710, 1068. 2470). eatnl (2074. 2478). heafo (2477). heaft-lan (2697. 
2C7SJ. 2()(il), hwijm. -o (41 times), raeaglum (1980), eafoB ((K)2, 060. 
2349, 146<i. 1763. 1717). Bufores (29«4). 

cr. atol, atelic (10 limes), hafelan, hafalan (11 times). 

(fc> Narrowing of tv io e, which may alao Ikj luMitiuh, is found in : — 
drop (2880). hrt-Ue (MHI), socce (600). 

Cf. hmSe, sRicre. 

(c) i-ttmliiut of m{i>r<v) toe occurs in *gest' (1978. 994). B. § 182. 
This form may bo Kentish. 



p. G. THOMAS 207 



(iv) Kentish Element. 

As has already been shown, most of the supposed Kentish forms 
may be either Anglian, Mercian, or L- W. S. The form ' specan ' (2864) 
may, likewise, be either L.W.S. or Kentish (Sw. § 151, S. § 391). In 
* trem,' a foot's space (2525), we may possibly have a Kentish narrowing 
of y to e ; cf. ' trym ' (Maldon, 247). Kentish ' getremman ' is cited in 
E. g 162. 

Of these 269 forms, classified as non-W. S., 92 belong to the 
Anglian, 73 to the Mercian dialect; the Kentish forms are all 
doabtful. If the lo forms be added, the number of non-W. S. forms 
is brought up to 397. 

P. G. Thomas. 



14—2 



SOME TEXTUAL PUZZLES IN GREENE'S WORKS. 

The early editions of Greene's plays and poema abound in obviously 
corrupt readinga, probably due in many instances to the illegibility of 
the author's handwriting, which, according to the testimony of his 
friend Chettle, ' was none of the best.' Most of the corruptions have 
been removed by the ingenuity of Dyce and other scholars; but there 
remain several which the latest editor, Prof. Churton Collins, has either 
given up as hopeless, or has attempted to correct by conjecburea that 
appear to me unsatisfactory. 

The play misnamed (in the posthumous firat edition) James the 
Fourth contains an unusually large number of these unsolved puzzles. 
That the copy was very badly written may be inferred from the extra- 
ordinary amount of corruption in one passage where the correction is 
certain. In the interlude after Act l, two lines of the inscription on 
the tomb of Cyrus appear in the quarto as follows : 

And I prithee leaue me not thus like a olod of clay 
Wherewith my body is couered. 

The passage in Plutarch's Life of Alexander from which this inscription 
is taken abowa, aa Prof Collins observes, that the true reading of the 
first of these lines is, ' And I prithee enuie me not this little clod of clay.' 
The stage-direction at the beginning of this play is thus printed by 
Prof. Collins : 

*' Enter Aster Oberon, King of Fayries ; ftn<d) Antique(8), who dance about 
a Tombe... ; out of the which suddaioly starts vp, aa they daunce, Bohnn, a Scot, 
attyred like a ridstall man, from whom the Antique(s) flye." 

Neither Prof. Collina nor any preceding editor, so far as I know, has 
made any remark on the title prefixed to the name of Oberon, though 
the fact that it does not occur elsewhere in this connexion might 
reasonably have excited auapicion that something waa wrong. Further, 
antique was formerly used as a collective noun, meaning a company of 
dancers grotesquely habited, so that the letters inserted by the editor 



HENRY BRADLEY 



209 



are wroag. Th« beginning of the sUge-tlirection should, I think, un- 
queatioDablv read : • Enter, after Ob**rou King of Favntw. an Antique, 
who dance about a Torube.' In the latter pitrt, the word ridatittl has 
lieen a piucxlu to all the cuniiuuntiLturs. Pn>f. Skeat hax tiuggRHted that 
'a ridstall man' meaiift a man who 'rids' or cleans a stable. This 
eiplanation can hardly have SL'ciiied qiiitL' sHtisfai^tory t^ven to its prn- 
poser. It wimid, I think, be iini>ossibIe lo timi in English of any periixl 
an ittstuucv uf an adjectival cunijnmnd of verb and object nniin serving 
to designate a man's nffirp nr i^inplojiiient. I bulieve the truth is that 
■what Greene wrot«wusa rtushiU iimn," ine^uiing & man of lb<; hutubleat 
cliuw. This aense of niacal waa common in the 16th centur)'. A good 
example is (juoted in tht Oxford Dictionarj- from Udall: 'He that 
puriticth al thinges cam aa one of the raskall sort.' 

Id Act IV scenes 3 of the nnmu play there ia the following rlialogue: 

SAooinaJttr. Qeutlciitiui, whnt nliuti will it iileAM! ^'on to linucT 
Sl^prr. A fi»t nente ciduen Wtlier, my n-ie^ii. 
Hhoomak/r. Oh, sir, that m too thin, it will not lust yi>ii. 
SiippfT. [ I«ll tht-c, it is my noer kiiuman, for I am Slipjier, whiuli hath 
U> hail gmoc in Hummur ta bee siitcd iti liJcua akioB. 

For lakus sidnx Collier suggested lackass skins', but the word jackass is 
■not known to have been in use earlier than the 18th century; beMidcs, 
one d<H*s not see why tljerL- should be suppoaud to bu any iifur kinship 
between ass-skin and calf leather. The context obviously demands 
either 'cidues skins' or something nearly synonymous. As one of the 
Elisabethan fonns of capital C, when badly written, might easily be 
ruixtakcu for t. and misreading!) of k for I are Qotoriuusly comniOD, I 
think there need be little hesitation about correcting ktkits into Valute. 

A few lines earlier in the scene Slipper sjiys to the tailor. ' 1 tell 
Ihee.a Kapis a great friend to a alorrie; it stands him in etead of cleane 
nnpery,' Thr> editors leavp siorrie without explanation. I would doubt- 
fully suggest that it is a misrL-ading of slomii, which seems to suit the 
context. In 10th century Ms.s. d and st arr sometimes not easily dis- 
Unguislu-d. The word ntuven is used elsewhere by Greene. 

In Act 111 scene 2 (Collins, 1. 1 l!)i)) the quarto has 'They seekuu kuob 
in n ring.' I kuow of no other example of this form of the (.originally 
Latin) prorerbiaJ phrase 'to seek a knot in a rush.' As the final h of 
16th CL-ntury handwriting, when badly written, is liable to be mistaken 
for B g. it seems not impossible that, riuift was what Greene wrote. 

In tho same scene (Collins. 11. 1271-2) the quarto reads: 

8ieur [twiuw, thiti uur ha]>iiy iii«i-ting hidos 
Your frisniU and u»^ ol oore and grceuous tojrie. 



2t0 



tuat Puzsles in Greene » Works 



It IB bvideot chat hides ruaken no setue. Dyce subntiluud hindera. 
Prof. Collins intnxliiceR pri\itg Into his text, justifying this bold altera- 
tioti by the unlikely aasumption thai thy ropy was read to the com- 
positors while being 8«t up. But even a** an error of hearing thei change 
of priveH into hides iiiw» nut seem particularly Uktily, and I do not know ■ 
of any examplu of the verb prive in ihe required eenHO. I venture to 
taggext/reett, which certainly givex the right meaning. At first sight 
thiti emendation may seem more violent than thtie« of the two editors, 
but in reality the gr&phical difficulty w very sniall, beiMiise the Ms. d 
and e ofleo scarcely differed except in size, and the combinations hi and 
fi" were sometimeM not greatly diwiimilur in appearance. 

The bad French assigned to Jaqut-s in this play is a difficulty for an 
etiit<>r. as it is impossible to say hnw far the blunders of giauimar and 
spelling are due to the printLT and how far they art? the author's own. 
Perhaps the be-'st course would have been to leave the gibberish of the 
quarto unalterid in the text, and j^'ve the probable correction in the 
notes. ProC Colliiw, however, luis chosen to inti-oduce his conjectures 
into the text. It ia not worth while to criticize his restorations in 
detail, but they aeem to me sometimes to do tiio much viuleuire to the 
recorded reading. For instance, in Act iv ."tcene 5 (1. 1697-8), the origi' 
nal has: 'You no dire voatre priepet ^ vrbleme merchatitn/nmme,' which 
the editor alters to ' You no dittrs vostres pii^yes '. morbleu, viechants 
femme.' It is not easy to sei* how morbieu could be corrupted into 
vrhlenu; aud villeint. which is graphically mure plauuiblc, will suit tho 
sense equally well. It is to be remarked that words and sentences oi\ 
fon-ign lunguiLges were cuniinonly writteu iu the ' Italian hand.' 

In the preface to his edition Pro£ Collins says: ' I have very rarely 
admitted CDUJccbures into the text even where corruption cried for ■ 
them.' He has, however, Beveral times (of course not without due 
notice in the footnotes) altered the s{H'Uing of the qiiartFOA <}uite need- 
leasly, substituting, e.g . Iiair$ for heares. aud coin for quoiue. allhough 
fche oondemned fnmis were in the sixteenth century regarded an quite 
admissible, I have nuted two instances iu which the altenitiuu m uioro 
than oieruly orthognkphical, Iu Alpkunsus, line 11, Prof. Collins haal 
followed Dyce in printing idlest' sliffhUf (with the apiwtrophe !) for the 
Idelg alighlJi vf the quarto. The witrd idlesne app^'am to be Spenfler'a _ 
coinage, and I am not aware that he used it before L59(i, which is hbtctrfl 
than the date of Greene's death. At uny rnte we have no reason to 
suppose that Greene intended to use the Spenserian word in ihia 
jHUiBiige, for idle occurs in contemporary- writiuga OB a substantive in the 




BSNltY BItADLBY 



211 



sense of idleneaa The other needless correction is in Looking G'<WM. 
1. 1820. where the quartoa read 'As I was ouiinuig alongst the port 
ryualc (Qq. 3, 5 ryualt) of Niniue." Dyce and Prof. CoUina have iiltcrcd 
ri/uait into royitl. But smvly ' port rival ' (i.e. port on the bunk of the 
iri%-er) ia at least as likely to be right jis the proposed substitute. In 
M>ok-inp Gttu$e 11. 151(!~«, 

Siui'bright A« is the «ye of snmioors dn.y, 
Wlion M ho "Uto Sjwniiri nil in gold 
To irooe bi» Uda la a tmwlike «D4|>e, 

SOHM' correction is of course ne*!ded. But Mitfonl's brilliant suggestion 
of'hia peiiaoiit*' for Spenori ought not Lo have beL-n intruded into the 
"tuxt. It does not, niter all. yield a quite satisfactory sense, and the use 
of jtennouH lor 'wings' or pinions' fiTi*t oc<-iirn, so fer as i» known, in 
-J'aradise Lost. The readiug in thi- M editions reminds me of the 
anystenous fJW Hroms (apparently meaning the sky) in Dekker'n Mag- 
•miyUxnt Entertainment (Ih-arii. Wh. 187.'1. i. 319). The crHiiljinations 
^pe and the are written nearly alike in some M8.S. But what is 
*Eronie'? Dyoe's conjecture 'ourany' cannot well be right. 

I do not know why all the editors of the Looking Olasae have rhasen 
t*i follow the later t|UarloH in printing thii name of the King of N ineveh 
na ' Rafini,' instead of retaining the form ' llasin ' of the Hrst quarts. It 
lioa, pcrbapH. nt<t hitherto been remarktHl that the name of Rasin uud 
itis sister Uenielia must have been suggested by the Vulgate ti'xt of 
JBaiah viii. ft, ' Ra-sin et filiurn KotncHu-.' It is not nb»ulitbi:ly CL'ttain 
"that GrettDc and Lodge mistook the 'Roiuelin' of this piifisage for a 
female name, but apiwarancea are badly against them. 

The nature of some of the corrections offered in this paper suggests 
the rcniAfk that the conjectural criticism of £lizabethnu teste has 
1lithert<» taken tar too tittle into account the ptHTiilitLrities of the haml- 
writing i>f the jwriod. The tnisreading of Ms. is ni>t, of cnurae, the only 
«iurc« of corruption ; even in deiUing with ' reprint copy ' a com)M«itor 
viU ifft^'M i^iibBtitiito one lotter for another, owing to carcilc£sucs.ii or 
[WruDg distribution of type, and M'ill sotuetimes catch at the general 
rifl of a ficntence instead of reading each u'ord as he sets it up; but it 
is no doubt &om dillicLilties of handwriting that the most puuiling 
<.Tritrs usually proceed. It would be a cousiden>b]e help to textual 
cnticfi if Home one would compile a judiciously classified list of the 
kindu of luistJikce most ti'cqucntly met with in t'he original editions of 
•isteoDth centurj* works. 

Heniiy Bkadlev. 



NEWLY-DIHCOVERED POLITICAL POEMS OF 
WILIIELM MULLER. 



.Since the rrccnb publication fif the very elaborate and careliil 
aiticlp ui»on Willielm MuHer in the Eighth Buok of OinMiekc's Grtindinas 
(pp. 255 — 278) there hfyt been littli; expectation of any new sources of 
infurtnation concerning Ihnt ptiet. Not luug agu, howurcr, 1 Icamod 
Iwm Dr Alfmi Koscnbftiim of PmgiiR (author of the article mentioned) 
that the Deutsche Bldttffr /ur Potme, Litteraitir. Kiinat tind Theater 
(published durinj; 182^} in Bi-etilau by Schall and Karl run Holt«i) 
contain u lurgv Dumber of coDtiibutiuns, many of which are quite 
unknown. Tvto cxpeditionti tu Berlin proved fntitless, but after much 
correA|)ondeDcc I was fortunate enough to i-eceive by post the rolunte 
which belongs to the Univereity of Brcslou. The journal, which 
was ono of the uiultifanoui^ cntcrpriac-s of that adventurous frec-lanoe, 
Karl von Holtei, appeared four times a week, and shows an unuxpL-cied 
dietiiiction of furm: there is hardly another magazine of the period 
which exhibits such chaste pmportions, elegant simplicity of umngo- 
ment, cl(^&mesM of print, and excellence of paper. Uoltei had already 
met Httllcr during a visit to Berlin in 1817, wbeo Uoltoi was taken up 
by the circle of the G&ieHseha/i^. MUller proved very congenial, and 
seeurcd Hottei's introduction to the manager of the Berlin Theatre, 
which did not, however, lead to the acc^^ptanoe of his unknown 
plays, as he had hoped. Again in August. 1820, MUllcr happened to 
meet Holtci in 8axon Switxerliind, at a time when the latter was 
starting upon a tour as vagrant rocitor. The poet remomitnited with 
him, urged iiim to go upon the s<tage, and furnished him with an 
intriKluetion to Tiyek, who at once gave him an engagement in the 
Itrewten Boyal Theatre (Holtei, Vieretff Jalre, 3, 238 ff.). When 
Holtei eetabliahed hiu ehurt-livt^d Obernigker Bale in Silesia in 1823, 
Milller contributwi tn it on September 23 the poem Dem (ilterUchen 
Bniulpaare, which was not republished until I8ti8, from another source 
(Max Mullet's ed. I, 111). 



.1. T. HATFIELD 



2!3 



{-[oltei hml always an aticlncioiiH way nf getting around the ordinary 

rtstnunia of aocipty. and his DeuUclie BUlUer publinhed niujiy things 

twhirh in North (lennnny would certainly have led to the interference 

of tht censor. U was duubtleas fur this reason that MUller found it a 

nwful orgtin. and contriliuLed no oflen to its pagea. He himself was 

Lliabitually getting into conflict with 'the powers that be' to jireen- 

'kOaiTK The ground-note of MUller'a temperament waa personal 

Iruedom, a reetivenecs under nrbitnuy interference of whate\-er sort. 

Whon he and his four young poet-frieDds, who had served together in 

the War of Liberation, renewed their literary bond in Berlin and pub- 

lUheti (Janimry, 18HJ) the volume SL«rf<'*6/aMwj, they at once awakened 

the hostility of the censor. The following verees, prepared by thcni- 

setves for insertion as advertisement of the forthcoming poems, and aa 

intioutinl of treuHun as their verw* thenwelves, for the most part, of 

liwrary distinction, were at once forbidden : 

ftfmf SAiMct Ki<f)ioi rtniUne fid) tic 4<iti% 
3ii ao^tn '^unOit tit\l'^rm Uititrr^iiiC. 
£it fttin lan^ in fccmuKT @lui gtfr6i<n 
Bfir Qcir, Mc iju^bnt. Siautnlitt uiiD £iiiij. 
Htib (tiAfngri'iii urn tljn Stint ^rfoAtcn, 
Srntngtn in tfc tlUiiftrii tvilrnn ^untt, 
nnc ba (it iiiin Cir i^rnilxil fiigia nudtini. 
ikrbantrit Ht fidi inu 411 hcitrtm At^n^^ ; 
Unb vea tni "l^liiibfii, u- t>(i 'l^iiiic ^riciiijcii. 
&iV VuA ttw )BiiA et( tijlr Jtunoc infftv.. 

Personal n-'inonstmncca of the indignant young autliom were of no 
avail : the censor rated them chiefly for eiiiphaj^izttig the Mord ' fii-eduiii ' 
in ihp arlvertiiMiment. When they pleaded that the King himself hml 
willed them out in the name of 'freedom.' he answL'rwd: 'Yes. at tJuU 
time!' 

Id Urania for 1822 (Leipzig. 1821) SluUur published a long literary 
iwny on Bywn. i" which, speaking of the widfsprrad personat intpreat 
in the English poet, he said : ' Maria Louisa, " proud Austria 'h muuruful 
flower." once aaked where he wa« sitting in a theatre ' — a sentence 
which ciiusec] the entin? edition to Ik- forbidden throughout the Auatriaii 
eunrire. Fnm this time on, Miilltr had constant annoyance frnro the 
L>.-ipisig vvusor, who repeat^-dly uutilated hut reviews for Bnickhuus's 
literary jieriodicals. to which MUller was a constant contributor'. The 
publicatiim of the fint volume of the iVnw Lxeder der Griechttn waa 

* Thrauiili lliM kindnoM nt tliR prawat htnd of tli* Bmi nf F. A. Brorkhaus. I Imvu 
Wm fTftni»l tirr SL-vu-M to \'i9 ciitinilj oaVnoon kltnn of Wiltirlm Miitlr.t, riiendtii; 
from UIO (o ihe Amj iefortt iho post'* dt«tl] ia 1637. Tbctc letters tbcd » iloud of Iii;bt 
npon tukoy little-underviooi) oivnta in Mullcr'aonnMr. 



214 Newly-Discovered Political Poems of WilAelm Matter 

delayed because of these difficulties, in connection irith which MtUler 
writes that the Jmprimatur for such poems is also not easy t« obt&io in 
Dcssao. A proposed third volume of buniinj; poems in favour of the 
independence of the Greeks (already announced in the Dvnttche lilotter 
of March 4, 1823) was cnttn^ly suppretsecd in Leipzig. At the end of 
1823 a poem npon the execution of the Spanish revolutionist Raphael 
Riogo was also suppressed (publishod first in 1844; se* Max HtUler's 
ed. 2, 131, where it stands wrongly among Grieehenliedery In 18S4 
MUlIer's review of poets of the Oroek cause is interfered with bocaiwe 
of certain nbjectioniible phnuu^R, and he himself prtip(j»t>.4 ' bedningte 
Oriechen ' for ' bedrangt« Milchri8t*n," in order to appeast; the c<;nsur. 

MHlfer's oontributioas to Dmt«rhe Blatter are in five graup»; (1) l* 
Devisen zu BonhoM (Jan. 23— June 23). (2) 19 TafeUieder (Jan. 27 — 
Dec. 23). (3) 2 Stra/t/edicMe in favour of Greek independence 
(March 4). (4) 10 poenw belonging to the cycle Vie Winierreiae 
(March 13 and 14). (.*>) The Firat Act of a drama F^o, AdmiratvoH 
C^perii, whieh run through fight mimWra (May 5 — IG) and suenis 
never to have been completed, though Muller sent Brockhaus the 
Second Act on June 15, 1823. The two finit groups concern us more 
particularly. 

It is e-asy to understand MUller's purpose in the veiled satires which 
are no arlftilty mixed miiuiig iiiwe liannlHss poeniH — fven if he had not 
hitiiNflf df.scribed thwm, in a letter to Brockhaus nf Februai^' '2Q. 1823, 
as 'Gesellschaftslieder — zum Theil polilische Chansons' (j4ni*r. Joam. 
of Philnhjff;!, 24, 134). ITe hjul fmight through the War of Liberation 
with enonnous ent1iusiiu<ui, and imuiediaiL>ly upon its close had been 
awt intci utter {liwippointnieni: by Irhc ruthless reactionary politics of 
European statesinaimbip. Dwipnts, diplnmats, and ]]«.ratiit«!H held the 
lately -nro used .•ijiirtt of freeilom in check, and all that was left was the 
indignant protest, in a stpiiil of hult-Nuppri^iMeti indignation, against 
those who were in jmsses-sion, or in favour. The cause of the Ore*-ks — 
despinpti hy all Eiii<ipean govern int-iit.'* — burned !ntu hi-s s(iul. Under 
a haruiU'ss title the |>K't speaks nut, hoping that his protest may make 
itself heard between the lines. The censors hod keen jicrceptions, 
however, and it scl-ius Kim- that those songs which Miilier did not 
include in his next volume (most of the poemH in Utntsche Blatter 
appeared in his Oedichte fiViw misetiden Waldhttrnifiten, 2. Bandchen, 
Dvssuu, 1824>) were 1e(i out because the publisher dared not print 
them '. 

^ All thrat- ponna u« to ftppeu in Ui« ivriter'* forthoominn G*diehtt ten WHMm 
MiiilfT. VnllHtABdige krinoolie Av»ifabe. B. Buhn Vvrk^. Borlia. 



I 
I 
I 

I 



I 
I 



,r. T. HATFIKTJJ 



215 



The group Dtviten tu Bonbons benrs the iiwcriptioti : ' Allnn 
«i('Hl*rhrn Komi i titmiien gvwidmrt'; and thr ndilitioiial not*-: ' Dk' 
Uikk'r weiticn diirch die llbfrst-briften bezeichiUL-t. Dnn Dichicr 
fichwcbu-n diir l«'kniitityii Parist-r Bdribons vur. diu imf" dicst- Wvise 
"imler iins z\\ national i^iren waren.' The innocent Devi'sen {limenhtmspe 
Mini lliautrupfcfi. Amor in etjirr RoHenhtospe, Airwr ids Hettler. uml 
the like) are ver>- lifiht Anaci-eontic piwma, atid <i€ciir in all editions 
sine*- 1824. Wt^- ditfrrcnt in th« pi>litical ^ong (Jiuiiian,- 23, 1K2.1): 



<Jin StrtH. 

9tii>l ;u I'dinrll utit iitdii ^ii ictit, 
Bit' dii tnlT ^u fcfitn! 

!Btn tiim .ltf(f>rn t'^t (ii i^itt, 
®ill nillilirdii Aucinit, 
lliit m ttr Hi'iildi !!Jnit 

SHani^ti l)at'tf rAeii ikIi jgrbidt^r 
SHii C(m riiifiiiitt* 5*mwn: 
ISlictiuimit, Wdc unt '^iJiii^l 

^lelitil. hilf Ml mu fcri! 

S^ir flibrrl inrin titbcii. 

9)MiDaiM La^ uik fictbcn! 

In the volume of 1S24 Millicr {)ubli»hi.>d a. very much niodilW and 
S'»~'^5at|y Bubdac>d variant of this song anion}; his Ta/elfieder, nnder the 
'•^^"io Biicfctmii-ta f (Max Mlllkr's od. 2, 55>. 

One of" the most pt'p[«.Ty <»f these " BonbooB for Gmtooii Confec- 
*nere' appeared on Juno 23 nnd is entitled: 

iSin RrcujrtKH in bex ncucftcn gdjon. 

3ife iltfii). mriit ti^ntf Xmu tu(b liaise, 

9Bi( niDii mir mitipicli l)fiil ju XA^t. 

3ii allrii buiiKii flQ^tttiittn, 

Sti l.>l)tiil<ii. {)(iMn I'ttr 3ut<ti^ 

^A% 1R.III mill) f<il vvn i»f\l un6 tfifm, 

Uiit, mil niii lilitr o' rni'iifoi, 

Itiigt uii* Bi( l^irji am" n.irfitii Stuflm 

%ti tillim Sicli iinb iritlcii timn. 

91ii6 Liiif tun 1'i>et>''(1' mug lift Df^to, 

Ulit iimirldi, lUbcn, rflaiirtn ir^m, 



216 Ntwly-Dlscovei-ed Political Poems of WtUielm Miiller 

Unfr 9&tHH iAmiid' idi bsinii tit ^tftt, 

3ut UiiifTliiItiiii^ fccmnirr ffiaflf. 

in rutm titunt nitnarijdtcii 

WuB id* lae iilclficnft iitadirii, 

QtiD biirf iin ^iiittrn aaA iiid^l (tEiltn, 

iQiifi im atvitt mid? lantii .^uJlrii, 

Itnc insii'Adi Sd^ilfing, taun itiiD IStautm 

(Silt li(M [ati(|t« 3ahr aitftjutni. 

Sdbft lit Itn 3iKt(fbaifttUt(n 

SDrD' idr gfpritfli auf Son' uiid nUNn, 

line (ingticuffli in 'Itjptitm 

WuS i(l> ^Eiiti'iia al0 SilBditn ticmi, 

ftuntiiljr. icl> ipiuf r*i'ii '-•fifp 111111(11, 

$jct' ndj iiid^i miwtt dii)i(iipatmtn 

Ilic Voliiil juf ihTtm tliu'iit. 

line aii« C<« tMiiiinidi ^iMt jprtitit 

llVIi(b ^Inrttid) lu iidj kiiil^clrfbrn- 

>S(il[>(iii idiuicb' id) jtimi luiebic cbin, 

lino mti III ilftdi iinti Xt^Itdirn 

lfit(i}tt wn frciitmrii ^Tii'lDiniitcn; 

SUUiii im \iimuta SBcc^ttilditfei 

8a§t niiit', ^Li allrr (S^iifltn Siaribt, 

3ri'|} atltm O'linmrni, alliiii Sdcn. 

9riu lldilil itiit Su^ii imni. 

3ii) T'liM' ■><■> niu^ Camn ini4 jtnttn: 

W(T lann tu iBditif tr^tuntitn? 

Thf last sis lines have, of cmiree, reference to the Greek struggle. 

Thii Titfellieder are, lik« th« Devuten, luixtd in cbanicler, a ftw 
being purely convivial, though in general MUller's famous .longs of 
Ovrmuji wine ha\'e decidudly a i>uliticHl tunUency. 

In Tino Veritas! 

fit £Utii(cit Utt im 'Btiu. 
Hap tufdi Srntd) un# rbrrn. 
Unt vi'ti tmi ^(iididfibciit 
T«t 3ni i'h? 'ii*t htln'tm, 
Vafkt uii« it'jd t(d?t. n^dd fdlti^t, 
suit iciiiriR 'Jtiiieitn imuKti, 
Unt tiltr ■^rrv uiiC .ttn«l;t 
Kut <iu Oiifffc iiEdiiim! 

Iiir 31Uhil)(ii l(tii im ®Hn, 

Qiifiii a>" t" '"*' 'B'ltftTt 

C(fitiil[ tloi lint l>iitifr rin! — 
ttr gin Dfm ituflittbndKr, 
!&tt 3L'jl>rb(it bi-licm Jlfiixa, 
^tx tri tfni IxKibii l?l*tt, 
Slij* ho*, liif, luh mil inn 
€i4 hT^t. tuft }i] ^itii^lt. 



J. T. HATFIELD 217 

!t)ie Sa^ti){lt ttbt im 3dtin. 
2}ti <SW%t fr^gt md) Z'^atm ; 
Qi i<i)atttt litest ffintin 
3n 9ftm unb Sraftattn, 
!Sa molrl fttn 9tainc ftt(|t 
fflil gipgtr ®(f)rift gcft^tifbtii : 
Dn »ua&fta&', (I mge^t— 
So ijl bn ®tift gtblitbtti? 
Dit EBa^t^tit Irbl im ffitin. 
Sa0 na^tn bort fur St^aaniiV 
€i( ji(t)cn r'in^dib tin, 
@c|}U(t mit I't^It^hii <&aartii. 
<&mi baa bit ficmtiKn ^lul', 
!Dk fi4 in Slmanat^tn 
Wit il^iti Si^rmmisftii 
€1; wiuibtrjitrlii^ moditii? 

X>it Sa|)ri)ttt Ubt im QQrin. 
SOrm gilt btc jnxitt Sti^T? 
(5u^ foil tr lirilig fttn, 
3I)t flatftn £u^cniad)ct, 
3)it pir in ©al)ri)(it Xftrcn 
SSit $anb unb Wm\t gtfliittrn, 
lint gttn, ale Sitgttlo^n, 
$o()n, 9toti) unb Xob trlittm! 

2)tt SSabT^it Itbt im Stilt. 
Safi nii^t auf ^oE)tn Suulrn 
9)on blanfm SnarmotDtiit 
Xtit !B(i4' aKtin ctnotitrn. 
^i( So^t^tit winft line fott, 
Unb jcigt in obm Jtliiftm 
line mani^n ^ttl'gtn Ort 
9Btt ungtft^ntOdlnt ©riifftn. 

!Dit ©a^r^tit Itfil im ©tin. 
3)nn ftinrt JtpniflJ fflljnn 
'Bon Ootb unb Sbtlfttin 
l!it frtit aSruft btfd)Wtrtn, 
Srt 91amt nit ttflang 
Slue tinte ®fingn0 SSunbt, 
iBtn mtint btt Sti^tr Jllang 
3n unfrtr v>olltn CDunbt. 

X)it !S)al)r^tit Irbl im Stin. 
(Run ffillt btn kgtcn 9)(^tr! 
tlvi) (tift. btt iit nit^l Tttn, 
Unb nic I'inb flart 3t(^ti. 
ffltm gilt btr fflrtfnfa^? 
Dtn tiiibtn Cbfturantm 
3)i-m Crbtn bed 3gnaj, 
Unb i^rtn aiiBcniMnbtm ! 

(Februaiy 10.) 



218 Neivly-Discovei-ed Political Poems of WUheJm MUllrr 

There h n sturdy spirit of protest in some of these stansas which 
|>uts them amoug ibu most earnest of Muller'a venies. The Iburth 
8t«nza aiiuft at the younger Ilwrnjinticists (such «s ihe Rroup ooniiect«d 
with Koui|i)^'a FniHetitaxchenbiicli} vfhwie religion even shovrMl a 
decidedly reactionary tendency. 



Viit iinfnt 3tit rtn Hil rnie riuqcn! 

Cit Ivill in'tf i>dciiti» unir bcin^cn. 

<£tc iiti)ii u«« udnthA biiKtn. 

Vufr aat niu il^r n'ifhr<^ri« i^rl)n 
Itirt lUfbl antiix pcniMtW jtljii; 

3ii-ii tdii fflabtn \\i Km (ftdfr, 
9)ii(hi>uii< iuT<t> e<d JcuKtc .ftud^ 

X^ri rcn Slvfrl iddr bnwidtrn ; 
gtiKfiPiirCj t)i# in « ^dMMW 

Sd^t iiitfntii !Q!ein tin tui una finjfrn! 

(Be wi(l in'i ^ardt'Ltit ime briii^tii. 
(Be fiiiin uii< fi(hetU(l> liimin. 

31i'H(1 l'<(t rt .Vbfiii an. 

Kl'o iif )«" l)raii*(ii taim. 

fflii ^tui Jtcfft, ail In] iti}tn, 

UiiCi Wii JdiiKtdt itddl ttit -&v!)m, 

flBo ti( jnnfltTi Vtiitim finjidi, 

Jn bti -Sdigfii WoitiiuiiKl 
Srifll <[ nil* trnr* jicbni jftiiiiTiid 
Sri tft £trtiinil;rtila £(lirin 
Stab' tH'« '^iiracire l)litnii. 

(March 25.) 



Similaj- in tone is a letter to rompi^ frnin Muller on December 15, 
1821 ; ' Was saigun Sit; ku OcBterrfich ? Da will man, wie es !<cheint. 
die Welt retotu- scfirui(ben....ijeht es mit dieser Maschinerie so rUsiig 
fort, wie man anfiingt, ho komtnt inun niichstenB zu der IncjuiKitioD iind 
di-ii Ault'daf^'s etc ziirUck' {Diary arid Lrtters of W. MUUer. Chicago, 
1903, p. 99). 



J. T. HATFIELD 219 

iitb' unt) 2Gein. 

2i) fitt^t nur von Sub' unb Stin. 
Unb fallt mir ttwue SHibite tin, 
So ffifl' unb ttiuf i{^ ^Itit^ linmal 
Unb f(^iife incin @(liijl ju Zi)it\. 

<Sii)a.b' bi(^ no^l, Cu mcint 3(it, 
SWit ol(« bttntt J&trT(i(ftttit. 
3d) bin iiii^t mui^ig, @oll fti !Diinl! 
3u ri"9'>i tirincn Subgtfang. 

Sit 3titung nirb ja $oti'ie 
Unb fpfirt bit Jttafi bet $^ntafit, 
Stnn fit uite, ft^iratj nuf grau iinb wtifi. 
■■UtTfunbtl beinni (Sttxm.^xiii. 

$an mant^nn iptllbtiu^mttn 3al)r 
3fl jtpt Dtir fdutn bit ^tit nod) flat. 
!Rur tint, bit wrgtff' it^ nie, 
Srajt i^i midr bnim, fc ntnn' id) fit. 

a>t( 3a^tt(, btfftii rtltn ©tin 
34 fditnl' in bieftn Stt^tt tin, 
3>tg fti mil 3uM jltie gtbai^t: 
^it ^robt ^alt, aa0 ti: gtbraf^t. 

(Sd l(bt at^tjt^nt^unbtn tlf: 
Stogt an baiauf unb fagt : Olott ^tlf! 
Sad man jntti 3>il)r barauf gmann, 
Stig Qtult, no^in btr JUtin otrrann! 

3)it Jttltft Ifitu wo^l fin Soi^ : 
9tim I't^mrdm mir niir ^tftn nod). 
Unb man^t Huge ^iingt fptit^l: 
IDit ^tftn bit btrauft^tn nitftt. 

3(^ lobt mir btn [laitn 3Btin ; 
Srum, Sriibtr, ft^tnlt nedf ttnmat «n! 
9i4 3)tffrte btingt bit btffn 3til, 
3A'« £itb' unb Stin, tMt um trfnut. 

(June 12.) 

In the last stanzas there is a noticeable expression of bitter dis- 
appointmeDt at the apparent failure of the national uprising of 1813. 

Unfre A'Diiflitutton. 

■&icT an unfm !£af([iunbt, 
3n btni fttitn Sirtttbunbt, 
Sinb mil gut ronilituirt; 
Jti'nntn all' auf Jtopf unb Aragtn 
Qinm btrbtn ^itb vtttiagtn 
giii bad 9tt(^l, bae una rtgtevi. 



220 Newly-Discovered Political Poems of Wilhelm Miiller 



Jttint i\U[, Stxn\\' unb S^tm 
iDurftn bent @tft(t iM^rcn, 
£)a0 in bitftm Staal fJctiit: 
91(i(^' uitb nrmt, ®tdh' unb Jflcint 
9Siiffcn tiinfm ^cin •aem iR^inc 
ai3it b(r Jtenig f^mmanbiit. 

S)ocf) bcT Jtrutg ftlbfl ba obtn 
311 bcm ®ptu^t nttbt ciil^obtn, 
3Stnn tt ^tincn Sjrptcr fdnningt; 
^figt tr iinjifn un« iinb trinltn, 
Xrintt unb I'ingt er bie )um ®tn(tii 
Slit m», bdg re riint unb flingt. 

Uiifti Jlcnig btt i'dII Itbtn, 
Slit SRinifttr aui^ bantbcn, 
ai'tnn fit fcfrmfm lautti tin; 
Str mit SRifdrntafd) unf bttrcgtn, 
<C(i mitb SDi @(ci<^i gtjpgtn 
Unb ctrbamtnt ju ®iinftiMiit. 

Sine btr tttc^jttn btutft^tn Omllr, 
®taif unb Tu^i^ niann unb ^tdt, 
Slitfir bti 9)cin in unftnn @taat, 
$tbt ba0 ^) unb nmfl btt @tifltr, 
SRacfrl bit blfbcn Sungm btti^tc, 
Unb gitbt a(im ,1te))ftn iRot^. 

SIIi'd ijabtn tt gc^lttn 
Unfrr suitn, toiiftrn Slltn : 
<£t( tirTitt()tn fid^ bnm ®ld*; 
Unb bit ntutn Stplcnatm 
Jpalttn au<^ <iuf i^cin unb EBTaKu, 
Unb ^nua^ nuf birt unb bael 

Sm nuc mit bfu wtli'dKn Sdrdunint, 
!&it in iDrmagogtntrdumcn 
SBiibrIn naif bcm ^\m cmpot! 
Sort audi mit b™ fdiimtn, biiftn 
Uiigar, bf( bii0 Si(^t tcfttiftn 
fliMII in f(in« Dfinfit Sti-r! 

Cb« ipellt ibr'« ttiiftlidi wagm 
(fu(^ mit line f)cnim )u fdilagtn, 
9Iun, \o rutft ^an lum Strang! 
.Kcmmt unj bc<^ nt4)t iit bit 3opft! — 
Unb wii bntfetn ru(^ bit Jtci^, 
Unb nir fttt^tn afl' tu<^ Due. 

Unftt Aiirtt ju btfi^ui^tn, 
@(^n gtrn nit un(n 3nu|cn, 
StcuttI unb jJnrudtn bran; 
3;tma3L>flfn unb Iitfrctm 
?f1 bcT ^iiitbi'diul) aiigtbvttn, 
Uiib n<i[ ntl^n |uT tintn Wann. 



J. T. HATFIELD 



22] 



^t]ii|'4c Sicker, ttiitfAf 9)(bnr, 
l;(iitfift( tuft unt ttuifirt Vtbin, 
fflhifil iiiif IxiitidjM «tf mDin! 
Stamt unfir tiifdiunitr. 
Hi* iiua (iinni i.>plltn lUuiit't 
(SiiA tca^it tm nftm *iifex I 

(August 7.) 

3n Mc licft ■Ruiiii btr Sioaitn 

Uu& Nt tjii« Gaju ^ilTicnttn. 
C nxh 1 C twfj ! wlj ! 
!&i6tcir, hell aiitb tc^ tjcrautf 
au0 trm 3^t|)Ii>niai(iifcfciRaii« ! 

UlfrllldibtfilM)' Itrg lib I'tbUdjmi, 
%iitil fit nichi peUtlfA Aa^lnt, 
Unb B4I, ol)ii( tnid} tu f><ii)tii, 

C ivth ! ivth ! C neb 1 
*^rubt(. ^cli mill) cod) iHtaue ! 
^«iU' (9 Ijirr tiitbl IJiijtt aiic. 

lint Ut iipfiS'ii '3atbJttn 
Ittivflni mid) all mciiitn ^'•■mrii-, 
3^c(t) Di'ii U^ilimtii .ffTalIra 
Wfil mail fi* Ni« wchi Li(frtll*n. 
C 1Kb ■ C n"6 ■ C iwfi ; 

>3rut(t, tjnU Riidj boifc i}K.iii(I 

Wid: (rjiigi: (ill fiilttr fHnM. 

Unt id) frftrit autf vMtx JtcliU: 
©oil (rrrlK nifiiic Snlt 
9lu# (ic litftn JTiml) t(t Cljalcn, 
fflcii Cent tii'di Ux ^iplcmnttn ] 
C TOth ! C wtif ! C meb 1 

SiiiCa. ticll mid] tcdi htvaiu 

aus Mnt rirlrinflf(i[f((>niuu* I 

Unb d.lii Ld) Can'ii iVf^t". 
46rt' ld;i »a« ViMi t'tmnitt^^tTt 
6ini(t mil ttbtnllid? btummfn, 
Cifpdn. lliiftrni c&rt {iimmrit. 

;lu*ii(; 3ii*ht [ oudfi't! 

(Belt ftt 7'iitil : tdi bit) t)nau9 
!lu« Btm X)iplciiii]l(iifd)ini)itf. 

(Augnst 14.) 

Like iinjh-fc other ventures of the Hort. the Detiinchr JilaMer came to 
njivnd vt-itbiii one year, cvuaing ujion the lusl inulni^^IiLof Doufmbur, IHS-I. 

James Taft Hatfield. 



GIRAUT DE BORNELH: 'LOS AJ»LEITZ.' 



This pomii haa an intf!r«»it for students of Dante: n-feruucu is made 
to it iu thu Cottvivio, Book, iv, chap, xi, wlioix- Dante remarks that 
legacies fall inorp often to the tricki^d th;ui the good, aiid goes ou to 
exclaim: 'Cos! fosse piaciulo a Dii>, che quello che domandh il Proven- 
]»1r foHBe Htato, che "chi non ^ reda delta buntk perdeNie il reta^io 
deir avere I " ' The jjureouidilv of thL' ' uiaii of Proveuct; ' has long been 
a diflicidty : his identification with Giraiit is due to PmC. Francesco 
Torraca of Naples, whose discovery was announced by Dr Paget Toynbee ■ 
in a letter to the Atlienafiim of April 18, 1003. There is no doubt that 
Dante had in iiiiiid 11. 29 — .13 of this poem : other reminisceuceu of 
GfiraxiC, or perhaps unconscious coincidences of thought, occur in this m 
fourth book of the (Jonvivio, Thus in chapter xxvii : ' Ahi maliuttnii e 
malnati! che dtsfertate vedove e pupilU...ydififttte !i mirabiU edtfici e 
credet^vi Larghezza fare!' etc.. we are reminded of Oiraut's 

tab o told YM tapis 
P«-l seii dollar... 

in Nos pot w/rir vm lenya (see KoIbcii. ff. vun BmTieth, Berlin, 1891 
p. 92 and his note on p. 134: "der Dichter scheint hier Leute, wie cs 
deren nicht wenige gab [h. Diez, Poeaie, 48], im Sinne 2U haben, welcbe 
sich die Mittel Itir ihre Kreigobigkcit auf Mnrechtmii.ssige Weiso 
erwarbon '). A mon^ int^^resting poem, to be read iii conaiectiou with 
chapter x, on the text thut riches are no test of worth, is Solatt. joia e 
chantars, published in Chnbaneaii'ti Pv^es in6dites den (rwtbadoara du 
P4rigord. Paris, 1885. p. 3»: 

Qni mniH ha c v«] nions 
Ucu i^BMT niooB noDiDAtz.,.. 

Volcla i-anor blft«raii.t)! 'I 
Oc ben, SI volctx von 
ArT niAi* qu'emer proa. 




H. J. OHAYTOB 



223 



I 



In ihiH poem. IfOo, Qiraut returns to the theme which forms the subject 
of Ims Apleits :— 

prcte e joven» 
E bela oaptQuemen^ 

Eti son inotit deecHiStK, 
Si qti'«!s plus rics barns 
En avd iniiiti riMecw; 
Et cKtom liir bo 
Qu'uanuex [lenMCM do M 
Qimr bieuH ah plus pMxata 
DotiM )Aa hM«Utz. 

Bartsch (Gnntdtiss, 242, 47) gives the fvllowiog MSB. aa containing 
«opi*!6 of the poem; ABCDDclKMNQKtJVa. My text » bafl«d upon 
the following: A (^Archiv. 33, 314; M. G., 853. Mooaci, Studj. iii, p. 15), 
O fi)]. 8vo. coL 2, 1 fol. 18\ K fol. 8b and c (the identity of 1 with K 
-and of A with B is well known), M {M. U.. 852), N fol. 168', Q fol. 100, 
It fol. 10. U fol. 1 {Archiv. 35. 363), V foL 72 (Anfdv, 36, ild ; M. G., 
-*54), a fol. 2 (Stenjrel, Retftte des Ituigiifs romanf$, 1892). 

I havp to thank Hrofeaeor A. Jeanroy of Toulouse for copies of 
^IKR, and Signor Benodetti of Florence for the copy of Q. 1 have not 
Hiten able to procure n copy of D. Theae hss. scorn to mo to fall into 
three groufw, ANUV, IKMQRa. imd C. Th»; last, the beet MS. which 
Tfe pofisoBS, liaa been auv.h the ImKiw «f the lust. 

The rime Bchome is: 6a (with internal rime) 6b 6b 6c 6c 6d 4d 06 

*p Gf 6f 6g fig 6x 6k 6g. Maus {Peire C<trdevals StTophefibau, Marburg, 

1^84) notes this scheme under No. 675; the only corrtaiponding poem 

8iv6D by him is one of Raiuibsiut de Vat|ueiras (Bartsch, Onuidriss, 392, 

S2). He denotes tine 13 as 4g instead of 6g, probtibly a inis[)!rint. 



I. 

Los apleitz ab ipi'ieu suelh 
ohuntar e-l bou Udan 
ni ieu qu'avi' antan ; 
nuts, quar non trob ab cui 
S nc deport nl-m dewlui, 
no Bu! ges benanans. 
ai dteus ! quals dans 

1 Milei^ M, xplcd U, a^loo Q, a[i)etz CIK, aplej-t R. Hucil N, stuoill AIKR, 
neilh aC 3 a^ eu UKI. <i.il auia g. quauin AU. 4 iiC> tnuip No. 

B no mjUU U, uom Boluu V. uimj ni MQ. no iiieHtiiu □! tuectdui It. U oi 
Bon «ii K AKMNQRl', no bwi Iuji finiiiiiU V. 7 oi d. N, den y. « d. V. 

15—2 



224 



Giraut de Bornelh: 'Los ApkUz' 



a'en sec c qunls daiiipiuitges ! 

quar cnrtz e bon ueatges 
10 aissi meiiusn c &]b 

no-n a i nul refrenalh; 

mas, quar mon aenhor pUtz 

jois e chans e sulaLu. 

m'esjau ab hob privata; 
15 c qtian mVn mii lunliatz 

m'irasc ab los iratz. 



n. 

Has deatreitz me destuelh 

per quL*-m vaa regitrau 

si in s'alcgramn ; 
20 e ges « joi non fiii 

ni-ls plazers no-m e»dui, 

anz mi platz adea chans 

e geos miiKanK 

e corti: e vaesalatges: 
25 ia-s pert ale rica linhatges; 

pur pros en tion miralh 

cui sea esperoiialh 

non fi'esmera bamatm; 

c si-l [luir fn laiizivtz 
30 e-I fiihs ee fai malvatz 

aumbla-in tortz t- pcchatz 

qu'ain. tas heretatz. 

8 col duuDiLttfiu QU. a toin C bos AIKNV, iaiu v boo Q, UMlgc QV, 

com li. 10 u tii iniiiiit Q, liixi uiciiitt « V, niciiueyu (t a later iiuerfunt) 

N, ayai uieuut defalb K, uiai tiieiiiuuit! f. U, mernio doraill u. II noi 

■greu reteoaiU A, iiou luren retaimiH Q, noons grou ret«u;kilb U. 13 >i>i QB, 
ban e \<A% A, ioia a bca V, bciia c eaai \J, hem iota IK. 14 uic iai ab tie ]v 

Q, 1o6 11. Clt. Ifi mti nnti V. Iff i»b lim iraU] wmutiw; tH Q. 

17 doetriiuloli V, dcntn^ Q {uther rinie teortin <u in t). 18 per qo IKQETT. 
per quell C, e niiii iimic A, rei;iin)Ati IK. SO qiiiir psi MRV<i. 21 oil 

uolcr CR<i, ncui c:'M<jUV. diWui A. SS qa oii IKUVl'u. 23 v bels 

m. RA. bel M. 84 tflrt/. a. iiMallatge QV. SS ia C'QRV, pcrdH AQ. 

pergal bos 1. M, pcr^nl bos usatgcs V, per giil bon Ungnatge U, perdc rica 1, IK, 
jicr deli) ric.i 1. R, |H.^^t eU riot a. 2C pair pro en eon m. A, parens pttn sun 
m. C, yituTV priw «oii nj. IKR, luvirc proii eon m. \[U, proa pair i-n cod m. Q, 
pnw iMiinj wi EiiirHlH V, )uire pro win m. N, imltw* prt>n iwii in. a. 27 qus 

K. OR, e imi .ten IK, quo o sctuM MpKruiiiul Q. luir ». V, quo! h. Ud, aipordilaiUi U. 
Stt aetuiiaTTa A, no Beaintit aln C, iioii He!ttii«m! R, «amanLl V, sen minil a. 



I 



S9 win CM, foa CIKQ. 
38 les UV. herwa g. 



ai IlUi IJVa. 



31 mi pw I. AV, tort 




H. J. CHAVTOB 



225 



nt 

Mas quats dreitz o acuulb 

qu' elh tilKs ai' atreUn 
35 de rend' «*•! pretz Hoan ? 

Di qiials razo9 adiii 

que mii!ilha noii taiiih' autrui? 

qii' autreiat ion enaD9 

outra mil nns 
40 honors e senhoratges 

de son prctz o coratges 

e costa e trelmlh ; 

e-1 filbs HI mm tnuNiilh 

□on ea doncs forlignabK ; 
45 aiu cum ao\n muHlmt;^, 

voB savi, que jutgatz f 

fl'ala proB ful dull duiiatz 

cum n'or delK dosprezatz? 



IV. 

Mas Doloitz cr ^i-m tuelb 
fiO per ceU que Talhiran 

do solats ni do cbaii; 

per t'ol tengatz c^tui 

qui so mczeis destrui 

ni'R vira ninUnRtis; 
55 per non sai quana 



33 doftca q. A, K q, QV, drct2 CIK, drogK H, dn^ QT (ol&fr rinu leonL «u 
•a !> 34 qo f. Q, ull U\', nia triMJiri M, AgMflan V, uutKUn U. 35 nnda 

cl ACIKQR. 3B o quels C, o q. U, ciil QBVT 37 noia Uiraa JL 38 quiou 
em qo foH AIKQMNU, qn era fos uih V, 40 qonors CMQ8Ua, « onora on 

M. Ik, « ua>tallatg« V. 41 donoti |x. CIK(j, ilnium MK>i, dos o p. V, doimn 

p. V. 43 OMtM IKMVd. 43 «i] miiMlhM tr. AMNKU'i, M qigol mioln V, 
qq« iitiel IKQ. 45 crit c»r IRMQn, <tiih oom I'V. 40 sauix ^IKXW, ikm 
Mbi qui ivJAJC Q, UOH AiitPfw ft. 47 fu R, Az-n* d. AQ, foM (j, foln V. 48 oiini 
er AlKMNQRUVo. 

40 ff- T'Ai'jf attnuo i* tnintiita I'u V. 49 nias tui leaier ftiiD U {rtmr irortU 

<M (M i). fil. hi f'YiMfx.W IKMVIt', &d vai'tiny in IK. AS q* fol IK^IU, 
qv fol R, ntr fol ■', Uo t«u R, t«i)( cu 'f. 63 qiij no giutA o d, AIK, gaste N. 
M uini C, uiH vicift muMU Q, malouaiui U. bi ovm U. 



226 



Giraut de Borndh : ' Los Apleitz ' 

cut iois par nesciatges: 
que ricors iii [uimtgeH 
er greu qui nu-s nualh 
ptiois qii' alegressa fiilh 
60 e iiU'8 comje v'mtr.; 

doncx r|uc-na valra rictate 
si io I10-U8 ttlugratz? 
qu' emperis e r«gnaU 
aon ses toi jumbnjtatz. 



V. 



65 Mas I'adreitz cors qu'ieu vuelk 

e desir e it'blaa 

m'ft trait (i'ir'e d'afon; 

e si jois In -in condui 

no Babran ja m»s dui 
VO low enbruuteiuH iii-ls mans; 

que tortz es griins 

e eobeirans follatges 

quan per ncacis messatgcs 

vilans e d'avol talh 
75 eecapa dvl guiusulh 

ni-s fuig bon amtstats: 

nins ieu'in siii bt;n gardalx 

que no-n sia eacolpats. 

qu'uoi non cs vius ni natz 
80 per qu'ieu en fos proatz. 



56 cut par loin IKQ. AT cai aabara ni UEi, qiiel r. IK, qua ricx com C, 
qo O Hobor Q, en aabeiz ni a. W non ea que n. lEMQIta. _a& pw aj : M, 



]M» alogrnn luin f. C. piiaiit Hl«grfiniuii (. I K, jhw alt^gransiii] f. >tQRa, pob &U(»ttt 
aoou f U. 60 u noi)t A. n no (j, i: ii<iiij> K. 61 o qtietw AlKBCNQRo, 

TOOtaf Q, rientitx a. lU tt men AMR, aaas IKX. 



6A Ai'dw intn/j u4 in I. (i? trtiie A, trag MN, Lr«i> Q. int e 

ACIKQR. G8 men oondui AT, mi condui IKQU, la coiidui K. 69 in 

lion a, mas AMNH«, nol s. QU. 70 oiitresels R, cjj sentrasems a. 71 qenoois 
i» MR, que auiaLz e» ". 73 Notira gnitm V, liobntiro X. 73 per niahialx 

AN. 74 ni diiinil AMNQU. 7.'i tswarnitii A, nscitpar N, mHchBpt IK. 

76 ni f. AMQRV'i, fiti MQVu. 77 riiii« ieu Hiii C, miw i«u m» aui gorate R. 
76 qanu iiuu MQK'i, fni en: MR, qiiciisau IKQV. 7tt qa Don A, quoi U, 

<)iuu)c non fn IK, quo non Q, aiei nan es nuis a. 80 oui &no at fos privou 

A, per ouj ieu toa K, una par qen Cob a, en] wattling V. 



H. J. CHAYTOR 



VI 

E-1 espleiU ni-in acuelh, 

so quc-ilh quormi canttui, 

remaiga' al men coninn; 

qu'ab gens |il(U!i:ra ruilui 
85 quan no-a part ni-e defiii 

rwlruiti! cors beiiostans, 

ui-l bels semblaiis 

ni-l amoros usatgcs. 

qii'avincnB es lo gnt^^ea 
EH) que del cor nU huciha salh 

per qu'ieu, qui quels baralh 

□i s'apelho forsatz 

me t<:ing & ben niunatz 

quan truep ben acordatz 
95 lo coratg'o la fiitz 

e-ls dils ben enseignatz. 

vn. 

E puoiii cnaoK no vulh> 
ni noQ sui aiiunatz. 
bt!l» scigner, snifcrtatz 
100 qu'ieu chant, ab sos aufratz; 
coiioHC bfu qtie-l CDiniatx 
porta plus de mil gratz. 

vm. 

A-n Subretotz digatz, 
V08 que mon ehan portatz, 
105 que sai ecs tant tardatz 
qn'el en flem1>lara fatz. 

HI cb eaiilegs sila tnactioil] C, tti es: a. wl V, e sil p1)% qlh tDaciloiU H. 
02 uuerr&ii Q, qiierrii a. S3 Ud n>iuaiagaJ L', son tuiuan IIv. 84 qttlwls 
y. H, eab Ms u. culi ImiI R,, ijiLlen |>. IK. S5 con ni'ii <iolii MV, iiuAiit new 

QOl IK.Q, tiann dimi luilu Ft, t-itn ti»H iiohi tui d. iL HH liKriiitbiriH &['>. S7 iii 

brk A, nil gcitn Q, fnuot geu jiarlaitz IK. M q« deU bueithH ol cor s. 

MtjKii, <iiuit tlolH cor all loa diIh «. U. »! trohail a. 9S na [wlla L", 

93 Uieii Uting iK. cutu ton |)er bon jiogaz Q. a drE>g uiuiiftti Ha. ' U4 tiiMii 
loH trup iw: A. 96 Ui uitutgii ab k AIK (IK Jiurdl^ lef/Htt«y 96 dits 

cuaruorutz M, eiiscgm:! Q. 

VII (hJy in A nni/ tK. M nOD nun IK. 100 ab ooiofhitx A, c^ua 

ehiui caU aa tiietraU IK. U)2 mill jtratx IK. 

VII! On/yinAlKQ. lu:i a»)! a. g. lUA sai soi ton Q. 104 qu en 

•emblara t th, qeu ea Benblami f. Q. 



228 



Gh'aut de Bortieth : ' Los A^iit ' 



TBASSLATiON. 



I. The timtriinipntH and the gwid npint with which I was wont to 
slag, 1 hftvo which I had beforo: hut as I find aono with whom to 
delight nr dinptirt mytu>lf, I am by nu nieRns in good case. Ab God, 
what loss and what iiiisfortuny riwulls tberefrom! For joy and good 
manncnj an? sn miniBhcd and fniling (thnt) there is do check thereto: 
but, as joy mid sung and ch«<;rfulnet«s please my lord, I dixpctrt myself 
vrith his frionds, and when I am removed thence, I vex myself with the 
grieved. 

n. But need drive* me forth and so I gn looking to see if they 
will ever become cliearfiil ; and I by no means flee from joy or withdravp 
niy»df from pleasure; on the roiitniry, song is ever my delight nnd 
pIuHHiLTiL biistlt" and courts ami knightly SL-rvit-e. High birth is even 
now lost to the rich ; ho seems a tine fellow in his mirror, to whom 
knighthood is not brilliant without sjinttt ; and if the father was praised 
aud the sun becomo a villain, it seems to me wrong and a sin tba4. he 
should have the inheritance. 

I£L But what right admits this, that the son should have as much 
revenue and put worth to shame ' And what reasoning brings it nbout 
that anothei- should nut hold it more worthily (i.*-. the money) ? For 
more than a thousand years ago, Bef and lordsliip were cuiiferred for a 
man's worth and courage and pains and toils. And the son. if he does 
not pass all limits (of decency), does not lose his rank (i.e. degenerate) ; 
now, yoit wise ones, wily do you not show me what your opinion is ? If 
to the excellent you give a fuolisli giti, how shall it be with those who 
ai-L" despised ? 

IV. But it will be a sin if I withdraw from song and pleasure, 
becaiwe of those who shiitl gti aatray; count him a fool who ruins 
himself and does not refoi-m when he is sick: 1 kuow by name as many 
an there are to whom joy appears folly. There will be hardly wealth or 
birth which does not come to naught after chourfiiiness fails aisl does 
not change at once (from fiiiling). Then what will wealth avail yoa, if 
yon are never joyous ? For empires and kingdoms are [xtFerty without 

V. But the upright heart that I wish and desire and flatter, btis 
withdruwQ me from anger and grief, and if joy escorts her to me, not 
more than two will know the signals and the missives: for it is great 



H. J. CHAYTOR 



239 



wrong »nd supreme folly when, thruugh a seimndrel messenger, low 
btHTi and of eril bearing, good friendship escapes and flees &um the 
leading atringa. But I have ktpt mywlf c-an-fiiily that I be not blamed 
on that account : for there is not to-day a living soul by whoui 1 would 
be called iu (juestion lor it. 

VI. And the result, if «he receives me, which I shall ask her (to 
do) in sung, let that remain ab her diKp)i4iU : for with good pleasure the 
upright sound hojirt, if it does not depart or H<h?, brings back the fiiir 
bearing and the loving twatmont. For delightful is the pledge which 
riecs from the heart to the eyys! wherefore, let him who will, dispute 
and call himself outraged, I consider myself well treated when I find 
these in aecord, namely, the heart with the fece and the words well 
ehonen. 

VII, And since I can no more avail and have no more opportunity, 
fair Ion), suffer me to sing with feeble song; I know well that leave- 
taking brings more than a thuuKind thankH. 

Vni. Say to Sir Sobrelotz, you who bear my song, that it has 
delayed here sa Imig that it will »eem toolish for it. 



NOTES. 

16 A better aDtitboBia could l>e obtained by rcaditiK 'o» (agaiiutt tbo authority 
of all tho uik) iiistcfi(t of /ua. In tliis ctuo, ton in 14 would be rQgaid«l iw the 
eulwtantiTC (nniu) : ' I <)is)ioi-t myself ivith priTnte aongn ytnr nty lonlVi cor only) ; 
and wheii I mn far fmin this kind of ccimixwition, I give vent W my zfrnt in xnigM 
of wntb.' On till' (|iitvttitm wFii-tlicrr irait in from tmr <ir ruj)n;HCiiU< iralm from 
itatcor, see Levy, •Suppt. fV-irtn^iuih. whcKw qiiuUtliotio oeuiti dtKtHive in &voar of 
imr. 

SI ni'-^ should be hi' aU. I have no nxample U* himd of ttiia orosin. 

9fl It aUboi ins t<m\. the mcniilti)( will \k : • high binli it lust ti> tlie good, i.e,, 
hnoga no repuUtbn ' ; ' Hi^lic-^ only rongit.' 

SBf. t^prroailA aiimhh tn l-e uir.if Xtyififon. Levy qiiotos this piuoMgo only, of 

wlik-h he Him: 'ioh vrr»t.''lifi die Stfill»j niiiht.' Tho iJlnmutitv firvitaniifn ttAmJUxttt 

tbo wovd as "oftoron.' I iinilix-stiinil tbo ]MiMMgo to mcnn that tho rich tblnk only 

of oatward ahow; sjnirs not virtiip, iiitild; the knight in lli«ir opinicn, tt ia also 
_. _.-_.i._ ... ., , ., horic*! 

ilAte; 'it 
(t>. tbe ijtvod man's) IbM ntxv 
nobin witbout doi:gh'ty doecl".' Thii* roii<i«rii)g pliiccM no Axcowivc Mtrain upon 



oonooivatilo tbit t/anrl/i utici •rtprronalA may be tiit«ti<lwl tn heiir a aietai 
nMMo: in thi>i c-mw 1 should rend Ifot in !• i^ xud yrifn* in J7 nrid trnnsl 



■Monis fitting in bin opitiioji 



m^alA, *iid nni in tiMkwiinl after the pliirol hf/t. For tbo Rict&plinnoul uiM of 
miraiU ace Stmiuiing, Jt. dr Horn (Editieii of \i^i)i), ix, liU, whence tlio oeiiuo of 
'<Hanioii' in poaaibie ju> m ftirther dcvdwi>njciit. 

SO If Kulwii (»/>. rit., [X 138) tiuoteit tbi* [louagQ lui ui oitiKMitioa (o IL 43 — 47 
of Xo-»pol mjrir w( Irivjn : 

Car qui mer boa, nlvatm gaxooha tan 
que pras do ae dieun Iu rui eon)ita.ii, 
e laissa rim 898 Hlhs de »ii'ii<ituitnsa. 



230 



Oiraut de Bornelh: 'Los Apleilz* 



ThtM liOM an quot«d in ft poem «utitlad S{_«rTmtn) U TVobam dr IWa Jrnntf 
(Barbieh, OmtvUlUr, p. IS7>, sUinia 4 : 

en tola miUronieira 
Tiu eel qi no toan roi^ira 
q'on Oirautz din de(n) Borncira 
qv birtx « V gnnx ujciil 

3 el liln toiiKiL utretnl 
e retiiU iif pivK sm aoiicir«, 
<]c itiielM tAiitli trugi an itutrul 
qen HHpchi^ Hon devietra. 

Oil these fftlHe rim«) UArUch obmrv«« 'die KoiinworW sind mnUvontura, vorgrinhu, 
Itorrx'Ih, poccAtx, utrvtiin, niitrui, dovor^ soDcirA w«<iM ioh uicbt su dtniton.* A« 
Kolitnn poinU oiit {lov. eit.) ttio word ia mom. 

39 mii im. An intonUonal exaggeration ; aa we Hboiild aay, 'from time 
iiuiEiemomt,' This is adiRii-iiH juibibij^v ; tbe itiswm^nt smdib U> W fi /ort£f*n' : 'if 
on the north)- you hostow n fu^ilixh j{i(t («f ««Hltb, wliick is foolish McauMO it is 
i^rAinoJ irivjipectivo of tucnt) what <|i> vou |ir«|><"«o to giro tboss whom you (l««f>i«o1 
Siiroly nathiiio, aiii] tliun>l'<)ra the UkJ <>iiKnt t<> I'd ptxir.' I ow« thiit miderittg to 
Profe«ot.r .v. T. linker t>f tlic UnivorsJty of yhcBwld, whi> boa kindly «*»d tfai* 
lutic'li* iu uiAuuHcririt. I hnd |iTv|'OAcd to tra)i»lnt«: 'if to the csovlk'iit yiu give n 
fooli«b cift, \tow bIiuU it W nuv of thingn dunpiwU 1' tliv ikn;tiiue'ut buiuK that, aa 
the eoa loaeti rank by Iiih iiiradM^dn, ni; liu Hlii>iild li)a» liia wealth, i*bidi ougbt Ia he 
giran to tbo good. Vou may c;all that a fuoUah gift, but it would ennoble tJie 
weoltbf which would thun ho in Lbo hands of a good man and bo no lougor doupianl, 
iw it ia deHpiecd when |>u.-uiciw«d b; the bad. 

9& per turn, i,e. there iire very fitw of thuiii : an we say, I could rount tbcm 
on one nand. ^Von for iiom (except in V) JK, however, uiiuaital. 

60 rsblaii, Kolrcn (op. cil., f^. llfl) saya; 'rebtatidir hciMt nicbt "anheten," 
BODdom "uich (dui^ch SchmoichclMon, VerajirochiiDgon) jom. wiodcr gcncigt inachea 
wollen"*iU)d quntc-< III in ixuywgf. 

7n guitutiiUi, T\i\Mi, eHiwcinlty thi; liiui)tmiiti'n ni|n!. TjCvj quotes Lir. Si/nd. 
Rrarn, ]i. TjS, !. 24 : ' que loa una deiTmidnt Lute jiilberie hiu txtre d«iL ({uiiitalh,' and 
adds for the posHawi, ' Leitecil, KgUrlicb.' It nounds moiv like a iiiountainccnng 
metaphor than ' I^Ading-stringa ' imply. Cf. Oodcfroy, Diet., guitutil. 

100 to/rate, frinii nofranher (man^'tfr), whitili HhoulJ, howorer. bo ao/raitt. 

103 SobreCfitz, a pHoiidonytu nf eoiiatunt uocurrence in Qinml'H tx>cu»i- Sev Um 
TOM to Siptr Mton Sohretott no/ot. 

10i>. 106 i.e. tlic song will apiNSEU* feeble when the tjme consuined iu its compo- 
aitioii Ib con»id«rM). 

^. J. CfliYTOB. 



MISCELLANEOUS NOTES. 



'Merby Gresk.' 

The urigin of this «xpreBHiuii in the sense of 'boon companion,' ant) 
ite historical relation to viernj grit), havf not yot, ns far as I am aware, 
(]{)t«rminc!d Whan the article Greek was written for th« Oxford 
iglish Oictionnry Dr Bradk-y wau in a position to say no moro than 
that ' the difference of reconled date [gntj gteke IS.Ilt, meri/ffj-eeke as the 
name of a character in Ruiater Dointer, a. 1553. and merrif griff 1566] is 
too slight to afford ground for saying that merri/ Greek is tho original.' 
The following scraps of evidence may, however, jKiiiit to the direction 
in which a solution of the difficulty is to be looked for. 

In the fifteenth eentiin,' alliterative Alexander (edited by Prof. 
Skeat for the Enrly English Text Society) th(! collnwition merry Greek 
oocuni in the line 

I* mayntotiaui^ of fc McsBcduvnen & of In mori On)ki»i (lino U70, Asfamolc us.). 

Considered entirely by itself, this instance might be taken to have no 
more significance than other alliterative cpitheia coupled with Greeks 
in the same poem; viz.. mon^ in the Dublin Ms. version of this same 
line, and in both msk, in line 1279. and trewe in line 986 (alliterating 
with Traces and Tessaloyite). But taken in conjunction with the two 
following passages from .Shaksperc's Tr(titus ««d Cressida 

Than hIio'h a intirry tlnwii imU-ol (I. jt. H8), 

A woful CrMBid 'motipit tbo invrry Orcoks (4. -t. 56) 

— in both of which the refcwncw is. of course, to actual Greeks — and 
with the development of the transferred meaning, it would iJOt-m to 
hnvc a distinct value. It suggr-ats the possibility of the occtirrenoo of 
merry Greek (or ]>erhftpK gny Greek) as a winventitwial coniiiiou place in 
some once-well-known version of the Alexander or the Tnjy story. This 
conjecUire receives some support from the prominence given to the 
joyi>UM mood of the Greeks in the earlier part of the twelfth centurj" 
French Alexandriude. In the fii-st hundred pages of the 1861 edition 
of this romance there ore at leaat five instances tu which their rejoicmg 
is dwelt upon in such langimg** as the following : — Qriu en oni grunt 



232 Mucellaneatts Notes 

ioie ««« (17/271), L* Griois stmt ioiatit tfni le cop tmt veu (68/1 II). La 
Mueuc per i'ost tea Oriug mult esbaudu (101/120). 

The above considt-rations mak^ at least for satne probnbiUty in 
&iruur of merrtf Greek being the original furm of the phrafic- aud vterrg 
grig mntily an alcemtion of it. 

C. Talbut Onions. 

Seneca, Jonsok, Oaniel akd Wordsworth. 

Wordsworth in The Excursion, iv. 330. 331, introducwi two 

from Danid'A fKiein, To the Lady ilarparet. Countest of Cumberland : 

iiiit4j^ Hbov« Iiimsolf lia c&a 
Erect himitoir, huv {Kun- m ibing m Han '. 

Wordaworth says Daniel tmnnlatorl them from Scnoca, but does not 

give the refercnc*. This is Nat. Quaest., Pro*/., 4 : ' O quam onteuopta 

res est homo nisi supra humana BUrrexcritl* I find in Ben Jonson's 

Cynthia'e ICevels, t, $, 30, another turning of the same thought : 

bow dwpisdc ftod base a tbiog is a ttwa, 
If be Dfit Btriuc t'croct hia grouofing tltooghU 
Abuuc the ntniitic of flc«h ! 

As Cynthia's liesels wa^t acted iu 1000, and Daniel's poem (published 
1603) was apparently written about 1599 (see Diet. Nat. Biogr.), it isi 
probable that neithtT Daniel nor Jonson borrowed firoin Ihe other, but 
each indcpendisntly from Seni^ca. 

G. C. MfioRE Swrpii. 

*A HEAHI.E.SK Bear.' 

Pud. Sometime a bomo III lie, wiumtiruA a hound, 
A hog, n headlet* lir-ar, Hniaaciiiie & fir« ; 
And neigb. and bark, tmd grunt, and roor. and burn. 
Lilto hanic, hound, hog, bo&r, fire, «t every turn. 

[iiitiMummur .\igfit'» /imtm, hi, 1.) 

Id the Anien edition there is no note on this curiouH phenomenon 
of a headletM bear roaring, but in the Cambridge Shakespeare I Bnd 
that two conjectures are n^-orded. Instead of keadlesa Dolius pro- 
poses hefdlexn. and Gould curUess. No one aeems to have thought of 
leadings, or ietiderless. A lend is still used (a * dog-lead ' is often called ■ 
a, * lead '), and Utidlm:i seems preferablf lo leaderleu, as involving Il-»s 
change. Although a 'lugged bear' (if 'lugged' menn-s lugged about 
the country by u bear-leader) Ih a 'melancholy' beast, a bear that 
breaks its le<id. unJ ragL-.s and ruars. is a terrifying object — a true bug- 
bear—and therefore fitted for Tuck's puqMise. 

H, LllTl^EOALE. 




Misctllaneous Notes 



23S 



'Deep Pathaibes' {Arden 0/ Fevei-sham, in, v, 51). 

In the Atiimmv-m of December 24. 1903. Mr W. Headlam proposed 

to explain this well-known crux by reading pathaines, in the aenae of 

' posaiuuingM,' from tbe Greek ■jraSaiyoytai. Mr HeAdlum m uaablc to 

accept Mr GolUncz's conjecture petarrts, i.e., 'petarda,' 'expUmive mines." 

L>eliu» propostid detp-fei aires. I have to odd oin> moiv guess to the 

Hst. In dealing with any Elizabethan crux of the kind, it has always 

;n my hnhit t" write imt the words tn » sixti'cnth ccntrtir^' hand, so 

to get some idea of how Iho ws may have l(K>kL'd In the printer. 

, The ptwsiigii in Arden (Temple Clasftics Edition, p. 54) is as follows: 

Aim. But J will d/viu tliAt dre iu luj breast 

Till bv tliG force thereof my port conBumee. 
Ah, Motibio .' 
Jfctbit. Such clr<;|> pathaircs, like to ft cnnnon'fl burst 
I>im,iliiira:'«i ngMnnt n ruitmUnl wiill, 
BmalcB my r«lcutii)jj liotu-l in UiuiL-mntl picci'o. 

lice's ' Ah. Muabie ' i^ inhmded tu be u very dci:p sigh, us Mr Headlam 

ftys he could understand Mosbie to mean. This is in fact Mosbie's 

VTii>nniiig. Writing in Eli/Jtbi^than script the wrinl pittkinreg, I am 

^^bruck by the facility witli which it might be misrcnd for suspires, and 

^^~K. beiiere that the dranmtiKl hen,' really wniLe 'Siu^h deep snnpireii' — 

^uspiria de profundi^ — 'bi-eake ray relenting heart to pieces,' HtT 

* deep an^in-s' intensify hia anguish of mind <cf. Hamlet, l, ii. 79: 

' wiiidy »u8pinitiun of forced breath'), I made this conjecture some time 

«go. but only lately did I hit on an inten^tnting cnnfirnmtion of it. In 

Beywood'* Htei-archie oj the Blessed Angels. 1635, p. 616, Heywood has; 

And fetchiiitf miuiy a flt«p guirpitv niul groan, 
Uis mel&nch'ly gi«w almost U) ilexiuirr. 

TTie chronology i» rather in the way of A fden being one of tho plays in 
which Heywood had a ' nmine finger,' but it is in the manner of his 
domestic tragedy, and the question whether be had any part iu the 
authorship might he worth investigating. 

H. LlTTLEtJALE. 



REVIEWS. 



Qrottiih- and Structure of the EnQlwh. Language. By Otto JesperseN. 
Leipzig: B. G. Teubner, lltOo. 8vo. ' iv+ 2(i*J pp. 

Within the Inst few years many books dealing n-ith the history 
antl slnictiirL' of the Englich Lnngungc have nptHmrwl, both in Knglatui 
luiJ Anicrifii. The iiiiiul-:^ uf ToTli-r, linulluv, £riit.*rBuM jukI Luututbury 
neutl only be monlinucd to hkiuII to our tuin^ » few of the bust knuwu. 
To the imnies of Huch wu uiiiy now mid thiit of Dr Jcsixtrsuii, alriMuly 
well-knuwu as a eludenl of liuiguagu gyoerally, aud of Engliiili in 
particular, Tlio Danish proft>js»nr hiui succeeded in fulfilling what 
might w«ll he dueiiibd thi- iiiijiosHible Ijisk of writing a really n«vf and 
original book on this well-worn thpiiie. 

In the (init ]>ortir>n uf thr. book, dealing with the development of 
vocabulary', Dr JvHjujraun is full uf auggt- stioiia nud ia oftuii wholesomely 
sceptical aa to sitiai* of our miwL (^hvrishvd ideas. Wi< may mention, 
as exampk'H, tliu siiggustion that the wealth of aynnnyintt for idcaa 
connected with the sua. found in Old English Poutry, whs chaiocCerisiic 
of a nation that had vnce boi-n seafareni ; the nyputhLsis that the 
charncteriBtic! diction of old Englinh jioetry, as distim^t frtmi i)ruBe, in 
to be ascribed, not to Anglian iatliience, nut to' a poetical hfitae or 
standard language ; the masterly characterising of the influence of the 
ScandiuaWan invasions on the Knglish language; the attack ou the 
theory that the development of the elajwica! eleineut in rhe language is 
commendable on the score of international intclligibiUty, and tends to 
greater exai:Lue»a of expression. 

In the chapten dealing with gratnuiar, Dr Jcijpcrscn works oo 
the lineK of his Progreaa in Lanrjtiage, lurgt-ly with the same bappj 
results, lie next treats of the language of Shakeapeare, and of poeti^ 
generally. His account of ShakpAjicnre in interesting, but is at times 
too subtle in its distinctions, as when he (?nd<>a%'ours to show that 
Shylock is charact,eriscd by certain peculiarities of vocabularj* and 
idiom, even in matters not belonging ])iirticularly to his creed or pr»>- 
fe»siuu. In the concluding chapter, we have uti iktileiupt to estimate 
the position of Knglish among the languages of the world, and a 
prophecy of its future estate. 

Throughout the book Dr JespeiMiMi has made Qreauont and 
ledged use of the New EngtUh utctiuuary, and has tnnmgh this 



Revieu!s 



285 



been enabled to add greatly to the value of his w<>rk by abundant 
citation of examples, often tending to disprove the hidebound theories 
of the older gratnnmrians and loxicograpnors. At tho same timo. he 
has been occasioaally misled by the great wealth of material at his 
command in the dictionar)' and by his own ojttraordinarily intimate 
ki)owlL<dge of Giigliah idiom. Tlwrr ia at tiioii* uppurotit iii the btwk 
a tendency to lay too mueh stress upon isuliUt-d txampk-s of wui-d or 
phrase. This is pt-ThapM Been must clejirly in the chanter dealing with 
the cla^viical elements in English, where it sumewnat vitiates the 
inireotiga tor's rosuUs. 

Olher iiointB on whieh one would like tn join iKdio with ths writer 
are his belief in a certain tendency towanls prudery and euphc-iuism 
in moilcm English, and his swpticism ilh to the usual estimatcis of tho 
rt-lative numbers of wordii used by various writtrs and uit.-iiiboni of 
different ranks of soeiety. Also, though it savourn of angmoiousnees 
to Tvproach a foreigner with it. a goixl inany atu<Kiits will probably 
lioubt tho truth of much of the uulogiuui which Dr Jespersun bo liberally 
showcm upon the Enf^lish language. 

The l>ook should be rwui by all Beriouft studenti: of the htstoir of 
English, for it Ir brimfiill of suggestions and should stimulate aJI alike 
to mrther effort and innwtigation. 

Allen Mawer. 



Pedan^*i». 



tnkitt*. A I^tiu Coinody Ibnnerly nctod in Trinity College. 
Iwidge. Edited by G. C Moore Smjth. ( Materiulien eur J\ 



Ciiin- 
Kffnde 
(Us iillereii Knqlisckeit OiTtmas. via.) Louvuin: A. Uvutpruvst, 
1905. l + i(i4pp. 

Theru have iKen numerous evidences of Ute that bhu EugliKli 
Mfldemic drania, and ita relations to the pop\ilar stage, are being 
more attentively studied than hitherto. Not tlii? Wast welcome of 
Ihese is the prvsi^nt wlition of Pedantvis. which toniiB Volume Viil 
of the valuable series of Materitdieti zur Kwuiie dea iHUren Enrfluchen 
Druma* now nn|)caring under the gonoral ediloiship of Professor Bang 
of Louvain. ProfoBSor Moun.' Smith is to bt; congratulated upon his 
enterprise in wnndcriug from the ' bwaten way' of commentators, and 
in making generally accessible thin neglecteil but iniporlaut nieiuoriid 
of th** sixteenth conturv Latin dnuim. Hw ciilJntion of tho text of 
the iiuart^i of I(i.'il^printcd abitut. half-a-century alYcr the first i»:r- 
fcniianw? uf ihi' play — with that uf the MS, in the Ijbnirv of Caiitg 
College, Cambridge, has never been attempted before and gives most 
interesting results. While there ean bo no reayouable doubt that the 
Ms. version is the earlier, Proftisaor Moun; Smith in the first section 
of his Introdiietion fairly OKtabli)^hos his contHotion that 'neither is 
in all p^>int» nearer t^i the original form of the play than the other,' 

when did thih *i<ngirml form ' come into being? The <iuarto has 
> pn:fi\tQry atutemeut that tJie play, when printed, was 40 yeam old. 



236 



Reviews 



M, produced tirst in 1591. But this cannot be correct, for Sir 
Harmj^toii writiiig in ihat year uses wunU whicli imply that ht* auc! 
the Earl of Kasex were present at a performance i>f I'&taiUius in Cam- 
bridge at a contiiderably narlier date. Kntm a c<>[ii[ianHoa of Harington'N 
words with references by Nash to the play in //«« tvitJi yau to Saffron 
WatdtH, Pn)fe8sor Moore Smith arrives at the result that the ' plav was 
brought out between the winter of 1580 and July, 15H1.' Tnia is 
probably correct, though it is soiuewhat venturesome, coiiajdering the 
frequency of College performances at this time, to seek to identify 
I'ea<nttitis ns uue of the ' phiyca " on which the Juuior Bunwir of Trinity 
(oe recoided in hts account-book) laid out £$, 14r. SJrf. on € Fobriutf^-, 
I580,'l. 

The authorahip of Pedantius is aa difticult to determine ah ita date, 
and hei-e the editor's conclusion is less cimvincinK. ProfeBSor Hoore 
Smith indeed disj>oseB effectively, oiira! luid for all, of the baitclees cJoiniB 
ofW. HuwkeHworth. the writer of a laUT academic play. XAui<2er, and 
of Dr Board, the Puritan tutor of Oliver Ciximwell, though the piece 
hiiH been iisaigued to eiich of them in different articlt* of the Wrfiunaryo^ 
National Biography. But between the two aeiioux candidates, Anthony 
Winklield nr (as tliu iiaiui: i» iiion- couiiiiuDly Kpc:lt) Wingfkld, to whom 
till' play is BSsigiied by Nash in St7'iinife Neiuea. and Ed«'ftrd Furcet at 
Forsett. who ligiircH as author in the Cains College MS., IVifeesor Moore 
Smith inclines tu the latter, though with the cpialityiDg clause that 
' probably more hands than one were engaged on ' the comedy. There 
is, however, no evidence external or ititenwd in support of this theory 
uf juiiiL-authorship, and it seems to me that Win^eld'H claim iii liu- 
buttur »ubHtAatiated than that of Forsett, who having mati'iculai4>d fintt 
at Christ's College, became a Scholar of Trinity in 1571, and u Fellow 
in 1.574. There its nothing in the interesting details of his life collected 
by Professor Moore Smith which poiriUt to hiii having been the man to 
write a broadly satirical comedy, luid before giving credit to the attri- 
bution of authorship in the Caius MS we should want to know wheu 
and by whom it wilh made. Nash, on the other hand, is a first-rat^ 
witDcss to Wingheld's claim. The novelist uud }Hunphlutet.-r hod matri- 
culated as a sizar of 8t John's in October, 1582. and may have been in 
Cambridge a year before matriculation. Thus he began his Uuivenity 
career sot>n after the play, on Professor Moore Smith's own showing, was 
prod uce<l, and as he naa himiwif 'a hand in a show called Teitninva 
et tion Terininiu.' in which Im acted the V'arlet of CIulw,' he muiit 
huvt; buen thoroughly familiar with the academic drama of his day. 
Moreover the pjissage in A'tnt/ijfe J^etaef, which Profes««or Moore Smith 
does not quote fully, beam upon it, as it seems to nn', the storup of 
authentic tcuowledge of the provenance of the play. ' My umse,' cri« 
Nnsh to (jlabricl Harvey, ' never wept for want of maintenance, as thine 
did in Mutarum tadiritiut that was miscrablv ilouted at in M. Winkfield's 
Comoedie of Pedantius in Trinity Collt-ge." Hen? the pomphleteer Bpeaks 
as if Wingfield's authorship were a iiiatt'cr of common nott- ; had he been 
wrong, there must have been hundreds of Cambridge men, including 



I 



I 




Reviews 



237 



I 



Hnrvey himself, who id 1503, vhen Stranffe Newea was published, could 
have brought him to book. Moreover Nosh is right in his stnt-cment 
that Hurvey'ft Muxarum Ltichrinnn van ridiculed in Pedatitius (Act v. 
Sc. vi. U. i860-l); nnd in Have mth yuu to Saffron Waldmi (1696) there 
is n niniiu-k»l)li; juifMii^ ((iiutL-d b_y Prufcasor Moutx: Sinitli in his Intni- 
(luction.pLi. ix— X, whii'^h ^huwii litill iiiurL' fully hou' iiititniitelyiuuuuint^ 
hf was with the i»crM>nal n^ftTf-ncrs in the ]»la.y 'itul the moiii' nf itvS 
|>ro(liiutiim. Can it then lie mipiKiaed that lit was likt-ly to be miHtakcii 
itbout such »D elementaiT fact att its authnrehip ? WingfielH, u\o. had a 
powerfiil motive for iivritmg a witirical comedy directed ajpunwt Flai'vey. 
El«:t<*d Scholar of Triuity in 1573, minor Fellow in I5t(f. mid innjur 
Fellow in 1577. W- had boon for a time Reader in Oivek to thu 
l^nci-u, and in llnrch, 13HC);'l, vfi» Harvey's Hiiccusaful rival tor the 
iiffiec' of Public (Jrator of tho Univorsitv. The contest was long- 
drawn and biltiT, and Wingticld, who was an arromplished clasaical 
schular, may woH have bctlioughl hiiuself of taming academic feeling 
against his untagonit^t by a caricatiircd representation of him on thi- 
Trinity ImmpIk. 

The editor's distrust of Nash's Htatement as tu the authorshi)) of 
Ptdanliux in the more noticeable as he makes siirh elTective use of the 

phloUxT'f) testimony in other ways. Nothing could be more ^li^- 
Tv than his expot!.ition of how the play is related to ' conventional 
Plautmv comedy,' and yut ditftirentialcd fruui it by ita satire of on 
individual instead of a type. The sugka-stiou, Ixuted on iutemal evidence. 
^mi ' retUtittiua had been pi-eceded by a comedy much nearer to the 
Plaiitine and earlier Ibilian t\']H>'is ingenious and plausible, and the 
fliscussion of the union in the titular figure of traits common to the love* 
sick pedant of snutheni njmeiiy with others peculiar t** the Cambridge 
hanumist nnd fop is excellent. Indeed Section vii of the Introduction — 
in which Professor Moore Smith, taking a» hia basis Nash's mtirical 
^Mmption of Harvey, shows that they correspond in detail with 
^ilneteristies exhibited by Pedantius, and that favourite phrasex frotu 
tht pompotw rhetorician's work*: are put into tho month of his theatrical 
'double —is not oidy of (in^t-nite vidue in its bearing on the play, but 
ie a uovol eootribut ion to Elizabethan biography. 

Old 9\>acf allow, there aw other featnnat of the comedy over which 
one would gladly linger, sneh an the diverting contrast Wtween Pe- 
dAniius the numaiiist and the logic-chopping philonnpher, Dioinodotus. 
The IntUT may, like his friend, have bi'eii a caricature of some ' Don ' 
(^ttie day. I agi-ee with Professor Moore Hniilh in rejc-cling the theory 
of Messrs Churchill and Keller (iilmk/tpere-Jafirbticit, xxxiv. pp. 275 
tt sty.), tliat ShakajKire wus intlufuced by these two figures in hia 
portraiture of Holofenies and Sir Xalhaniel. If any of his aarly works 
owt* miiiiL-thing to Cambridge i)lay wrighLs, it is not Low'h Ijoitaar's Lout 
tiut liicJiattl 111. 

KvL-n reiult'r>i to whom verbal wit, noinetimen, it must be confessed, 
bitiguingly spun out makes but slight ajijieal, can scarcely fail to enjoy 
the humours of the intervien between Pedontius and his tailor, or of 

16 





238 



Reviews 



ihti ill-starred oourtship by the scholar of the wn'mg-tuaid, Lydia. As 
they turn ovor the pages of this admirable edition, they will, 1 boliove, 

SrumiuncL- the y\&y us Mull oi' hnriidctM tuirth'as id the dayit of Sir 
Lihti Harington. And tlm* will fet-l indebted to Professor Moore .Smith 
for thi^ VL-ry full nutc«, explaiiatury and illiintmtive. which hi; has pro* 
vided. Soititi of the parol!^ inDsaji^ cited from £li:c:klK>than writera 
may be thought superHiioiw in a voliinn' which will chieHy attmrt 
^)ecialiBts, biit the varied and iotereeting (jiiotatiotiR fnim dawiical, 
mediaeval, and reoaisisance Latinists are illuniinating and helpful in a 
high dcgreeu 

F. S. Boas. 



I 



77ie Plays and Poeim of Robert Greene. Edited with introductions 
aad uotee, by J. Chubton Coluxs. Oxford; Clwcndon Press. 
1905. 2 vols. 8vo, lii + 319 and 415 pp. 

' When the Dolegatea of the Clarendon Press entrusted mc with ■ 
the preparation of an editlou of GrL-vne's Pljiya and Poeins I d«t4.>niiiiied 
to spare uo pains to make it. so far at least a* the text was concerned, 
a filial oiiL'.' Such. Pnifesaor Churton ('ollinH telU iiii, was the exoirllent 
intention with which he set about his work. He appears to have re- 
cognised, what no competent critic will probably deny, that the buHineas 
of an editor is primarily with his atithor'» text, that it is in that 
department that he can do the most valuable and lasting work, and 
that biogmphicul, critical, aud excj^etical matter are at once nam waiy 
au}ierBL>U(:d and intrinsiadly K's^i impuruuit. Nu tdrtur pomeases un- 
limited time, patience, or knowledge, and where the main object of a 
work is attained much may be exciucd in nthor and aubonliiiaU; matters. 
It will, therefore, be only fair to remember that the preparation of aj 
final text has been the editor't* chief concern. 

The introduction, or mther introductions, however, first call for, 
attention, and it will be couveuient before criticising Professw Collins' 
work in detail, to denl with one or two general conBidcratiotts. No one 
in thr Hrst place can help noticing throughout the editor's laxity of] 
cxpreHsion aud iiidiflerenee Lo aceuraey in mattei« of detail. Instajioes 
otxiur on almoat everj' jJ^ige, and a very few examples must suffice. On 
pp. 52-3 some footnotes have apjiHrtntly been tnuispoKed, with the 
result that l>yce is made ti) fjiiote from a non-extant work and Greene's 
Repet\ience is confused with that of ime NikI Brown who was hanged nt 
Aix, A noLe on ]>. 17 assigns Nnwhe's Pietxe I'ennileaH to Greene and 
also givea a false refere*nce. Nolo 1 on p, 10 is either mutprinted or m 
cinmsy ua to be uuiutelHgible. Indeed the style is frequently careless 
to the point of obscurity. Alptn>ns\is and Orlando are styled tragedies 
(57), which they urit n«t in ihi; accepted meaning of thut tonu im 
English ; rime royal is called 'stunza royal ' (IjS). thus inviting eunfusion, 
with ' ch^mt royal'; and the obsolete and ambiguous tciiu 'active' fo 
'transitivo' is ])ersistent!y eniphiyed. The same book is mentioned.^ 
twiae over in the course of three linea in a list of worita on p. 21. J 
Titles are quoted in the loosest manner. It does not tend toclLoirnuiU u 



Reviews 



* 



cite MereB* PaUadi* Tamta tm WiUi Trenmn/. (53) still less an • Mere's 

[sic] Works' (59X The title of Lodge's well-known poem on the t&Io of 

OUuciisnnd Seilla is misprinted ShIUi's .Vrtff.mo™/io«« (138), Marlowe's 

Tflay is cHlIed by the titli? ..f CiouthL-'s (IIWV The habit of refening to 

«'i>rk« by their seeond titles is one to be depreeated. To cjill Volpntie 

aiiJ Epiccene thir Fojc Jinrl the Hilent Wotmw is, indeed, allowed by 

custom, and no ^r<^l harai ih done by eitin^ Memiphcm oa Arcadia, 

though, HB there are aln;iuly at leat>t five works bearing that title, it 

seeta* hardly oeeesKarj* to add to their nnmbf?r; biit to refer to such a 

conii>aral.ively obscure play na Jack Dnctn's Kntertainmmt as the 

J^lmisttiil Comedie of Pnsqitil and Kaiherine is surely to darken counHel 

unduly. Greater prueimon of i-eference might alao be dettired. On 

p. 21 (i four lines are quoted from the Old Wive* Tnle. a* being similar 

t-o some passage in Orlando, but to what passage is not stated 

((U^tually if. G6, etc.), At the h?nd of the ' Hystory' of George a Oreene — 

'Which, by the way, might just as well liavc been given in full — i» 

printed the ballad of the Pinder of Waketield. the oource of which, how- 

<*ver, is not mentioned. At the end of this appears the note : ' Another 

«"»ld Ballail. "The ludgment of (Jod shewa v|Hin l)r lohn Fauslius." 

Tune of — "Fortune my Fee [sic]"' which does not seem to relate to 

»»nything in particidar. It may be incidentally remarked that sueh i 

'bowdleriHatiMn us thiit on p. 31, u'here a bmclceted word has boen 

*»ubstitiitMl for that used by Greene, is puerile in a book of this sort, j 

<Jne grvat delect of the work, lastly, is the want of a chronological 

^ratiilugiie of Greene's writings, together with those of the 'numerous 

assailants* with whom he in credited on p. 21. 

Having disjjosed of those general considerations, it i."i pncwible to 
f^ass on to consider the Introiiiietion in detail. It inay at once be »aid 
^hat Profeasor Collins hns treal'i^d the problems of Greene's biography 
■xvtth robust common sensR, and has steadily refused to be misTed b^- 
^■pecioiin identifirations or ingenious coujecture. If lie hiut erp?d. it 
MB in iindorniting the importance of inferoutial arguments, and in 
discounting, at totj lieavy a rate, unweicoine evideuix". Indeed, when 
^t! says that Henslowe'a ' gurtje » tfren' in 'uivaunmbly the Pinuer 
vtf Wakefield.' and that Greene's ' Shake-seene ' ih probably Shakespeare, 
it is clear that caution baa degenerated into afifeetation. When, how- 
ever, the work iw considered more closely, it assumes a less satisfactory 
n|>]>eamiic-e. To di^euss all or even the majority of the point^i wbieli 
inii.»"t htrike the reader is quite out of the question. A veiy tew of the 
inure importiint only can ht- dealt with here. On p. 23 the Pmfejwor 
vrites: ' Auiong the men of letters uf that time [Greene] could number 
uraoDg his intimate acquaintances... Kobert Lee, an actor and dramatist.' 
(Jreene dedicated the 8ecoii<l iiarl »i Mamilht to KoImtI, Lee, ' Esquire,' 
whom he addresses iu* 'Your Worship,' Pmfesaor Collins ha» roufuMed 
this pvraon with au obacnre iietor who i» first hcanl of for certain tivu 
year»t afler Greene's death, and who, moreover, was not a dniniattst, the 
play he sold to Honslowe being evidently an old stock-piece. On p. 41 
the iKlitor repeats the usual coiumon-pliice, that "The plain, object of 

I6-S 



240 



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[>*ftahe's Ptviiice to Memiithoti] is t-o i>(>ur contempt on Marlowe,' but 

"' " ' ' ' >Iain 

eot: , 
my title' (ed. I 

McKerrow, iiL p. 131X On p. 44 no authority is Quoted with regard 

to a lost ilistory of Job wcrt-mted to Greene. The Wofessor proceeds: 

'The nppcaroDce of Harington's Arioato in \h\H, aa I hnve shown in | 

the [special] In Ijod notion. idmosL certainly suggwuwi [Orlando\' In 1 

the passage tie refirrs to it \s shown ckarly that the play owi>s nothuif 

to the tnuuliLtluii, and i[iLlec<l that ' Harington'c vendon could hanlly 

have been in Greene's hands' (217)! On p. 47 he thinks that Oreene'a 

wife 'sent her conunendationj*, pos.sib!y in answer to the letter' printe<I 

ill the GrQiiUu»n-th : but that letter, as the work itself infomw us, 

was 'found with this bocik after his death.' On p. 61 Professor 

Collins nicntions Midont-'s identification of the 'Musaeus' of Chuttlc's 

E«glamd'8 Mimrning Qarmeiit with MurlowL-. and pronounces it tu be 

impossible, Marlowe having died ten j'cars previoiwly. ' Musncus,' he 

• says, must bt; Chapman. Next time the Professor wishes &> otrrect 

/ his predecesMoni he will du u-oll to luuk up the facts of the ease. Ii 

I so ha|)penH that Chapman \s nlmi intrudiicea liy Chettle under the nouie 

}---u( Corin, whi> is deHorilHHl aa the |HH?t "that finished dead Musaena' 

V tfracioiis snug'! Refrrring tr> the problem of IJenrif VI on p. 68. 

Professor Collins writes: ''Though, as wo have already 8(*en, the ^mous 

passage in the Groatsmorth is ambiguous, in spite of the light apparently 

thrown on it by Cbettle and " H. B.," still in iirventH Funitraits the 

quutiitiuii of a line which iis atinoMt corljiinly a [larody of a line in the 

True Trayedie pLiirils to suuie auaoeiatiori with that play.' "As we have 

nlniady seen '—yes, in a fiiotnofcc twenty pages hacK, tit which no clue 

is given, and to which the refemnee in the Index is wrong! Moreover, 

no ■ K, B.' has been previously mentioned nor any parody pointed out 

in the Fitneralls. It so hnppen.s, however, that this work is signed 

* R ti,.' so that it would appear probable that what the Professor meant 

to write was 'by Chetlle ani3 " R. B." in Oretnes Ftiu^ralls; still the 

quotiitiwft ' etc. Thus emended the sentence at least makes sense, 

thouch it remains very clumsy, since the reader is left to draw on hi» 

own KDowludge uf Shakes{H:arian controversy tor the identification of 

thv iiassiLge in quBstion. 

Three points deserve fuller consideration: Greene's alleged reuent- 
unce in 1.590, the date at which lie became a playwright, and the 
authorship of Sdi/mu and George a Greene. In the seriousneas of 
Greene's refoniiation after he had been accused of writing the CM«r 
o/ Caiittrbury, it is difficult to share the Professors belief That 
Ureene's conscience was at times uneasy may readily be imagined. 
and it would be uncharitable not to accept as ^nuine his death-bod 
repentance. But the cuiuinercial use he made ot his jieriodical atlAckn 
of hysterical remonie certainly suggests a considomble literary elemait 
in his pretended reformation. As the Professor adtuiLs, his life showed 
no signs of amendmeat and his writings stood in no need of it. There 



JiemetM 



S4I 



in oonseqiieatlv a strong suspicion that Oreene found either that his 
Vein for uinoi'oiiR romtinc* wtis nmning dry, or else that tho tastf for 
it was pasaiug. uud that he dL-libL-raLdy liduptcd the machinery of a 
repeotaiKw b_v wfl.V of explaiaiag and advi>rtising a chnnge of style- 
IndLt,-)]. in the Vitioa itcwlf th« rcniikrks uf Ohuuc«r to tlit; effect tmt 
theiv was nolhinff discreditable in the Cobler read so like a siy vin- 
dication (if bhiit brilliant but oftVmsive work. a» seriuiisly to dtwumit 
Ortjenw'a denial of the nuthnmhin. Certainly, althouj^h he had ahjiired 
taoveJ-writiag, he never hesiiatea to publish works of this natiirp when- 
over he saw a pmfitabic opportunity and eonld invent u plitusible excuHe. 
-Por A^ever too Late he claimed iuduW-nce in the Vuion itself. He 
followed it up by n second part called Francisco's Fortuneti. which he 
«?xciiaed ns a continual ion. Ki:xt he dediuited to I^ulv Fitzwater a 
xiovcl, Phiiomeitt. n-rtresenlinc that be had written it lone before at the 
x-u<]ucst of a noble lady, 'a C<>uiitiiaM- in thi» land,' whicli umy or may 
Kiot have been the ca*te. This may alsn Huggwt a reason tor his bor- 
x-owinp Lodge's name, fihonid Enphues tilniaoto nltimatcly prove to be 
K~iiH. The nionU intention of the Coney -en tchinc pamphlets to which 
•"If next turned hiw attention cannot be taken senoiisly. Oreene main- 
^Aincd his oM manner of life, and detonnined to turn his knowledge 
Kz»f crime to literary account. The storiea, as Professor Collins admits, 
■»=»,re told ■ wiih a guxto and racine.s8 which savoui-s sometimes more 
•«3r sympathy than satire,' and Grecnc'a oMcrtion that be ossociatod 
["x»'ith the sharpers whose tricks he exposed ' not aa a companion, but 
\v\s a 8pie to have an insight into their knaveriea' is belied by all that 
~^we know of his London life. That his pamphtets 'struck terror into 
■».he tooundrele with whom they dectared war.' and that these sought 
^lis life, rests merely on Oreene's own assertion and is a trick of setf- 
-«idv'ertis4;meot whicli need not be taken more ecriously than any other 
I «)f his quasi-autobiographical fictions. His mistress, the sister of a 
WiotorioHs rascal who had already danced at IVbum, waa one of the 
*>w jMHjple who teuilud him on his death-bed. He waa always threat- 
ening t-> expose the namt'S and haunts of villains in a Black Book, 
liut rven wlu'ii he knew himself to be dying, he only dared t** compose 
the ItUir:k- iS'iok's MesHenger. 

The dale at which (Ji-eene began t/i write for the stage is one of 
the most important and moat dittinilt questions that his hiogmphor 
haB t*t fare. Piitfestior Collins has conti-adicted himself hopelessly on 
the subject. The question largely turns upnn the interpretation of 
an important but nWui-e passage in the Prvtace to Perim«de».f\nlv.i\ 
ISHH. 'fhis will be fliund quoted at length on p. 40, The meaning 
evidently \si that Greene had bci-iH scoffed at. on the stage either for 
not att«nipting to write tragedies, cir else fiir having attempted and 
fiulod. PmfesHor Collins pixtceeda to argue very aenwibly. and with 
great show of rwmoii, thai the latter iH the con-eet inter] iretation. This 
Would ptarr Alphonsus, which we may reafwrnably aaanme to be the 
^ earlieal of the plays hei^e printed, immediately after the production 
H of Mariuwe's Tambnriaine in lSti7. This is exactly where oue would 



242 



Jiei'iewg 



naturallj' place it on ffrnunds of style, nnd other evidence aleo points 
to « (Intic not lrti.IT than 15R8. On pp. 74-5, hnwrvfr, iVifc-wir CtilliaB. 
Iiaviu^ a]»nnrently forgotten nil thnt hr ha.s writCen on p. 40, jmicocds 
to <]n(iti3 tne name passage aver again aod to argue in a diametrical 1^ 
oppmit^ diret-tion, maintdtnin? that Grocno wrotf no piny before 1501 1 
He litres not appear t<> FealisL- thi-- dilHcultv hiH t.heor^' eDtatU in 
assigning no lc»<s than «ix dmmns to Iht* \&sl twt^nt.y mcinthR of 
Grecnii's life in iuldition to a qtianbiLr of wrnk of a ni»D-dninuilic kind. 
There i«, njuryuvfr, niiy !irf(iiiHniit whioU ProfeBBur Collins has either 
overlooked or disrcganleil, which would seem to rthow coDclusively that 
Greene began writing for the ntage at least aa early an 1-^87. lu Uie 
(froatmi:orth Roberto, meeting the player who is fmiioiis in the |iart« 
of I>f^lphrigiis and the King of Fairies, is indnced Ut herome playwright 
to the company. Now without imduly prea-iing the i-esemolance be- 
tween lireene and Roberto — his" life in iriosil parts agreeing with mine' 
- — it is fair to iirgue thai such n detail as lliii^ must be iv per»on&l 
recollection, and that On-ene must liave bcguQ writing for suiue oim])aQV 
at a time when the plnys mentioned stilt held the intjige. Bui iti his 
Preface to Menaphon Nashe Hjwaks of some of his literary friend*, in 
a maimer which certainly doeti not exclude Greene, at) having made 
the fiir1.unt> of h ' oompnny of (.aflfaty fooles,' wlm but tor them ' might 
haiie antickt it vntiil this time \'p and downe the Conntrey with the 
King of Fairies, and dined eufiy day at the pease porredge oHinary 
with Delfrigus.' Orvcuc begun playwriting when these were the 
popular pieces: they are raentionod as obsolete in 1689. Consequently 
1587 may be taken as the very latest date asgigoablc to the commence- 
ment of Greene's thBatrical cai-ei?r. Besides 1531 ia too late a date 
even for Orlando, which must bt> after Atphonstis. There arc two 
DBBsagcs common to Orlando and IVrlu-'s (ild Wuts Tate. Tin; latter. 
Professor Collins remarks, 'almost certjiinly appeared in 1590, but this 
will not help, because it is impossible tio say whether I'eele copierl from 
Greene or Greene from Peele.' Ho has omitted to remark that the 
chanicter Sarrepant (or Sacrapant) is also eommon to the two playa. 
This Greene tf)ok from Ariosto and conKiyinently Peele must have taken 
both it and the coiumoii [la^uugt-s from Gi-eone. 

The attribution of iSs/iniiw to Greene proposed by Grcsart is Htmngty 
combatwl by the present editor. Ncvt-rtheluss. after all deductions 
have been made, the ftsuier will probably feel that Allot's tE«timony 
remains of conaJderable weight, and that some at least of Oruenrta 
parallclB rt'main significant. Such negative argument, monnivt-r, us 
19 forthcoming is hardly convincing. 'It seenis |wrfectiy clear,' writes 
Professor Collins. ' that [.S'eiimMs] was originally one of thn old-fimhionixl 
rhymed plays, and that it had been re-cuBt and iuterpolated with blank 
verae to consequeooe of the popularity of Marlowe's innovation.' Since 
no reaflons an' adduced, it may be sufficient bi> nnret nsBcrtion bjr 
tssertion and to submit thai the piny was begun on the lines of a 
Senecan tragedy in rimed Htan7;ivs, but that during the courBe of 
composition the author came under the influence of Tamhiiriai<M nw\ 



4 




Hmne^ 



243 



I 



introduced more and more blank rerse as bo proceeded. There ifr 
certainty nu inu-niul evidt-nco cither of ro-castmg or intetpulation. 
Profeatftr CollioH next proceeds to quote- a niimbor of pai-allols between 
Setimvji iintl Locrine. .Suriie ol' tliust' ufl* Htrikin^. but. iJic {XJint ia nob 
It ill signiticaDt that when (irosart cites the word 'arm-strong' 
an epithet of Hcrciilps. Profra»ir Collins dpclarBs it to be an 'ordinary 
an' phrajie, bnf- ntverthoIesH biiiisplf usgh it for the purpose 
t ing Locritif. wi ih Selimus. The passiiges are ccrtAiDly note- 
worthy : 

Iftlianu: • The ftmiiMitning wwi of Jovo'; 

tjutrriti*: *T)iO Nrtiin-Hli\>ii^()llKj>riii^ of tlio tloublad iitght Stunt IIoivuIm'; 

iitnafiiun : ' Alciiicn (tlit- iinnt-Htrotig diirling uf tli« dombltuj iiigbt).' 

Th« Profitvor then reniarloi that tlie blank verw of the two plavs 
in ■■ ■ ^'^li.ihably. which is quite true, and proceeds to quote in 
ill . :«i> rimeri pa.'isnges fnim SeUmns ' The inference, of course, 

is ihut Seltiiiii^ iind Locrine urc bv the same hand, and this ho seems 
to think diaposLS ul' Greene's claim. But no one has ever denied tluil 
« strong case can be made out for Grce-no'a authorship of LoertM. 
MntvovLT, in the; cud Proli-ssor CXiltius gives away his ca«r bj- saying 
that • Whiit reminds us of Oreene may have bet-n iiiteqiolated [in 
SiAimtm] fnini (irf'rrie'n MSS.' No argumi-nl; is adchiood to show that 
Oreeut^'ii niitbui-ship is in any way uidikaly. and yet rath«r than 
rtain that obll^o^^ hypithesis wc are ask^d to suppose that pasHages 
ilnf lost or unpublijJied works of bis have been delibemtely inserted 
by some person or persona unknown ! Qroeart in his treatment of the 
question undoubtedly laid hiinaolf open to attack, but it \» £ir ensier 
to pick hok-s in hi» iirgunicuts than tu diaprovi; his contcntioiL Nor 
is the qui-fition one whioli ean be Hijequutely treated by itself. One 
Woiiht have expected fi'oiii tirecnti'M editor a aoiirral inquiry- into the 
ButfaorHhiti o( a whole net of PISA'S — Selimus, Locritte, Leir, TitiiH — and 
it is hardly a proof of the Prolessor's zeal that he has shirked some 
of the ma-it di^cult portions nf his task. It is true that little value 
was tikvly to attach to such an investigation from the pon of a writer 
who habitually and avowedly disregards the work of other critics, 
except lor an (Kit-iL-^ioiml eni-tr conccniiiig the ' thick darkiH-A-s, not 
irracuated. but rendered visible by the splutleriug pyroteehny of 
iDctuiric theories and bavin conjecture.' 

When Professor Collins coineH to discuss the claims of George a 
Crtene, he is in a very diflerent frame of mind. 'Though the evidence 
in fiivnur of Oni^ne's jmthorship of the Pinner [as usual, the second 
title ii» prefernxl] is liu- from oonclusive. it is sufficient to warrant 
us in including it tent-atively among his works,' although 'Whether 
Oreune wrote [ISdiinua and Locrine] or had a hand in thorn is in my 
opinion much tuu doubtful to justify any editor including either of 
them in Oreene*$ Workit,' and ' precarious conjecture I take to be no 
I>arli of an «-ditor'a duly.' The external evitlenm? in favour of Grep-ne's 
a«thoi-*diip of the play on the subject of his namesake of Wakefield is, 
M tbtt Profemor a<imit«. very slender. It consists of an inscnption on 




tvtvs 



thy titlt>]jagi-' of tltK Duke of Dnvonshirf's cnpy. first ' bnmfjht i" light 
by Mr Payne Collier,' to the- cftWt that Shakespeare said it was written 
W "a miiiinttr,' and KdwanI .Juby that it. was " madi' l>v Bo. Oree[iieJ.' 
The authority of this statement iniglit be open U> question, even if the 
authenticity of the antry wei-e not. Professor Oiliin*. however, hiraw-lf 
Rdinits the latter to be 'pregnant with suspicion.' Until the original 
has been exaniinexl by some coiiip«^'te.i)t> pL-nw>n fiiiiiiliar with the Irx-laml 
and Collier forgeries, no tinal vordict can, of coiirec, be pronounced, 
but criticw must iu ihv mean time be excitac-d if ihey nik- such verj- 
' snsjHcious testiiiionv out of court. The int4?mal evidence in hnrrtly 
mon: fion%'incing. rfud the respmblances U-en adduced by luiy other 
critic in fevour of any other play, we shoiiSd iloitbtlesH have heiinl in<in> 
of "nieteorie theories ami biivin ronjectlire.' Then* is. in the juiN.'ugvs 
citeil, not u tithe, not a hunilnytth part of the refiemblanw tbund in 
those quoted from Setimae and Lacntie. of which the Profcajuir wn>t«: 
'the truth is that argiiiiientt like ihesi.' are fiitile, and I have merely 
parodied Di- Oroeai-t.' He has* here panxlied that scholar with a 
vengwuiee. Greene's authorship is 8<i[ipi>n.ed by no arguments nf the 
aligntcsl weight, and then- an- »erioua objections. The play was per- 
formed by ft company with which (Jireene is not known ever to Have 
been connected. The verse of the play is admitted by the ediior to 
be utterly unlike Oreene's, and il« language to show no trauea of any 
of his tricks of .style or rhetoric. The conclusion drawn is that it uiiwt 
be his latesl. drain.i. Marrj-, must it I but can the cnt-it-monntain thus 
change his spotj* ^ The five o|rt'n-air, rollicking humour of the play 
is utterly unlike Gn>ene. and reminds one rather of such a piw-e aa 
Munday'a John a Kent, with which it hatt tteveml ]K>intK of rcaeutblauce. 
To compare Bettris with Margaret is alwurd. Grimes' daughter t»lks 
with direct and delightful simplicity : the maid of Preiu<ing&eld cuuld 
look back on a youtli misspent over Greene's auiontiis roumiin.'H. ' It 
is possible,' writes the Pp'fessor in conclusion, 'that if we po«*ew<:-d 
the dmma in its original form we should have K-eii able to Hud further 
and much more satisfiictory internal evidence in luvour of the play 
being from Greene's pen.' It may suffice to quote Professor Collin-t' 
own rcnmrk that hypothesis ih not arginncnt. All readers will be etad 
that Oeorjje a GreeM ha^ bueu int-iiided in the present collection ; out 
to argue that there is more evidence, external or intcmnl. for On?ene'R 
authnrshiji of this play than of Selinnu in prejKwterouK, There i,* in- 
finitely lesiiR 

A few pointt in the special lntroductinn.t to the pln>-s call tor 
nttention. The first is Alphonam. Having in the general Introduction 
argued in favour of the date 1588. the editor here proposes the date 
151)1 on the gronnd of certain supposed paralleU with Si^nser's rom- 
pUtiiita published that year. Even, however, supposing the parallels to 
have the least force, which it is diHicutl to ginnt. nothing follows, since, 
sta Prufeiuor Collins hiuiself admits, the poems in question undoubtedly 
circuUited in us. for several years before they issued from the prem. 
Next comcH tlie iMoldng (ilaia. Incidentally, on p. 140, the vktaing of 








Reviews 



U5 



Uio tfaeasres in July 1592 U >md to bave hven on nccoiint of the pl»gne. 
rhift is not so ; thcv nero nioswl owinij to rititfl. The pUi^iic aid not 
beeoini' nfrioiis till the Wg^iiiniiiH of Supti'iiiber. Orlando i»n»»igne.(l the 
third pliKX'. The traoacnpt of tht title-page, among other urront. wtfttus 
that tin* plav wast ' PrintcHl for [sic] John Uanter for Cuthbert Biiri)ia' 
.On p. 21U Orlando is aaid to have torn Orgnliu tii pi««cK. It was the 
down on whom he perfonned. In the second vohimtt the first plav i** 
L/'Viar Ba-coH. The editor h<ia omitted to state the when;about« of anv 
f the quartos or to rnemiuii what copv liu has fLiUoweil. Thp British 
iuuum copy of Q I i^ imperfect aa^ the only other copy recorded 
Iby hibliographt'rs is iu Bridgewater House. No at^knnwlfngement for 
XMxefis to thia is made. Next comes James IV. A compuriaon of the 
rHjjBcript of th(! title-jragi- with the facsimile is instnictivf : 



[Jlfffa^'at.] Tb« Hcr>tti«li IlistoHo cf 
mj»taf» IV, »lnii>« it Kliitldcii fkl-d. 
TCnU-nninMl with a jiliMuinnt ('oniiHli*- 
■jurcwntfld by Obomni KitiR of Fncriw*. 
_A» it li»tli l*«(--o Kutiiiriu ttincM pluiiio. 
"Written hy Bvtx-rt Urc'(iii«> Mwatcr ft 
-Aiis. Oiuno liilit iiiuicturii I'l&S. 



(Fmctimih.] Tlw Scottinti Hi«tori(> 
aut&i llio fuurtli, sltiiufl ut FlodtlDit. 
Etiterniiicd with a pktivwiiit Outuedlu, 
prcwnterf by Obomai King of FareriuH; 
An it hrttli l>c(>n aiinJric titn<« publikoly 
Liluide, V^'rittoii b)' Itobcrt Groone, 
AlitiHter <jf Artn, Orutti: lulit [nitivtiim. 
LoudoQ Prill ted \>y 'Ilitnuatt Cnivde. 
1A98. 



I>uttly tht'fe is George a Qj'eene. In this inHtancp the trariHcripE of 
the title differs from the facfliniile only in matters of spidling and 
Tiitn(!tnation. but t.o make up for this comparative aeeuracy the editor 
immediately aflerwardc »t<iti^ that the pliiy is 'dewfribed on the title- 
pnge as an inlerltide,' whieh is obviously not the ease. On p. 160 it is 
Huid that Jiiby ' iww nil nctor in Prince Henrj's (Vnnpany in 1604, and 
had joined [S.] Rowley in writing a play called Sampson In !(H)2.' He 
n known to have been a meml>cr of the name eompany, then the 
Adnural's. at least t4>n years befort* the date inentiime*!. but i« not known 
to have written any play; lie and Rowley niniply authorised payment 
lor the piece in question oil behalf of the sharers, 

A veiy fi-w words iiiu^l ^iiifiice concerning the notes. While in some 
caw-s a good deal of useful information ha-s Deen collected, as in regard 
to ' dapperdudgoon ' {G^rye a Greene. 909) of which hanily adequate 
illustration is supplied by N.S. D.. much space is occupied by quotations 
for quite coDHoon words and phnunws such as "to like of (Orktndo. 138), 
'hnntM-up'(:18(>). -cutter' {Hncon. oid). • black-jack' (Jti/nejt /K. 845) or 
by extracts which mny be entertaining in themeelves but which do not 
nerve u> thmw any light on the text {e-f). Har-on. 237). Then' would be 
no rtjftflon to ci-implnin of this were it not that many difficulties are 
paAHed over in silence. To mention one instance out of scores — Looking 
tJUur, f>6-7 : ' Rcmiliag loae is farre more either [)risilp Then Ien>bonm» 
nr the worlds subdue.' The editor doe-t not ailopt either Dyce's or 
Mr DnnielV emendation for 'either,' d(K's not obelise the won), and 
no note. On severrd iM^casious rilso the illii.><tr)tion8 cited are not 

kllul. Two mther glaring invtanves may b« quoted. Orlando, 1 22 : 




246 



RitriaiBi 



'6ut> coinu thoru forth the pi-ou(iast champion Thab hath suspitinD in 
iht! Pnlatiiifci.* • For thin i!iinotiii uso of " mispicivui " in the wnsn nf fame 
or rfpiitalion, i,e, that which creates suspicion or envy, cf. SpeDaer's 
SotiJiei to Gabnel }Iari?e^: 'And as uiif carelcBB of oiispicion Ne fawncst 
on the favuur of tht- gn-at ".' Now in Sprnscr thv woitl obviously' means .j 
' iiiiHConi>tnictioD.' In Grcvnc it appL'um to huw thu forco of 'mistriisc* [ 
and thv ' iu ' ID plovu of ' of i« proKumahly a mthcr nnuauul I^ktiniam. 
'The Pftlntiuf' IS, of coursw. the Count Palatine, that in Orlando; van 
Professor Collins have Uikt-n it to ni€an the Palatinate f Friar Bacitn, 
299: ' ffueise. This funii of the pliimt nf gm-st is not iincoinuiun.' In 
cvory instance, however, which is citerj. ' gnesae ' m a singular. In short 
the notew offer very much the enme occasion for criticism an thi; Intro- 
ductioDfi, and it must be further roiuumbenxt that the remarks made 
abo%'e with regard to lx>th touch upon only a very small number of the 
more iniportant (loints which must strike the atu-utiou of any careful 
nyuler. 

It is time to pass to the considc-ration of the text, and it mtut 
by borne in mind that it wns here that Pnifesnor Collimt * d«t«yiuiued 
to spare no pains' to make bis edition a final one'. It is impossible to 
pretend that it ia even moderately satisfectoiy. The plays have been 
printed trom tranfjicripts of the original quartos which were on the 
whole acciirat*;. hut in which the distinction between capitals and small 
letters wai not clear, in which th« ampersand and other contractions 
were sometimes retained and sometimes expanded, and which contained 
a certain number of gnwe and obvious mistakes. Further, it is clear 
that no consistent attempt waa made to read the proo& with the 
originals, » precaution whicli everyone familiar with work of this sort 
knows to bu ab»olutcty imlis)M>iirvibi<\ if accuroey ia to be attained. 
There ia, indeed, no evidence whatevtr that the editor has hinuM,'lf 
OODBulted a single one of the original editinnn. Under theiie circum- 
stonces it would tieem that the names of the tronRcribem liad as good 
a claim to stand on the title-page as that of Professor Collins. lb 
is high time that it should be understood that so long as we entrust 
our old authors to ann-chair editors who are content with second- 
hand knowleilge of textual sources, so long will English scholorehip 
in Enghmd affonl iindL-airablu amunnnent U> the learned world. 

The extent of the iiuiccurauiwt in uuitteni of detail maybe illiiatmted 
from the iirat 250 lines of ifrlando. In these there aiv nine cases 
of a snmll letter which should be a capital, twenty of a eapitjd which 
should be t^mall, three of 'and ' for ' &. and also the following errora: 
■seauonfold' for ' sonuenfold,' 'Sauours' for 'fauoiirs' (though T>yce is 
quoted as reading 'Juvoura.' luid Groaart also has the correct word). 
'Supersedeas' for 'Super sedeas,' and 'myselfe' for "my selfa" The 
collations as a whole are at leiutt as uuttatisfuctor^'. Not only are the 
readings tjuoted repeatedly incorrect, instances of which will be given 
in a moment, but it ie frequently impossible to discover exactly for what 

' Tha Clmndon Ptm* Ui U> bo hMTlily coti|fr«liiial«tl irn tb«fr ctmirniioB to * noitBd 
praotiM vitb ngaid to apper uid lowtr om* h and v. 



I 
I 

I 

I 
1 

I 



Hevietrs 



247 



I 



wordii tn the text thf^ Arf^ a siibstitntc (e.^., James IV, 55 and 1703X 
PttptictiUrh" is this th«' casi» wtien> thf SfM-abt^r's Dfluics havu bopii, some- 
tirues iiiineccfiwrily. altered, for it is Heldom Hiatod whetht-r thu wr«njf 
DArtii* ftp|>oar!t in the original, or whctht-r tht- speech is simply run on 
(e<ff^ Jamta IV, 298. Alphunsm. 349, where, niorvover. tho insertion of 
AtfAon. ba8 not Wen marked by the iisiinl hmcliots, and George a 
Greene, 1214, where- it t» dbtinctly stuUtd thnt n new nnnie appears, 
which is iioi irup). So nj*:»iu altt^^r&tions in the text nre (piite iii- 
coosintc^ntly treaterl. Insertions an^ u-sually murked by the use of 
coniral brackets, hut in a number of inHtancvs tht'so havt-. been omitted 
<cb.9., Orlando. 675, which nhoiikl read ' Prottd, <and> di»datufull,' and 
AljJtnnittui, 1425. whi^'h nhonid read ' thrpat<e>nings' : cf. IL 1114 
iuia 192(i); miuiiiv brackets are apparently used to iiidicrttc delcndft 
inJamfvIY, 612 and 999 s.d,. though the fact is nowhere stated, but 
elsewhere {e.g., Jamea IV, 2128 8,<1.. and Qiwrge o Grwn#. 115 and 
5D<S> they seem \t> bo more mintprints for conical brackets: while mund 
brackets have been introduce*! in Alphonsiu. 175 s.d.. for no reason at 
ikIL ' Exit' is freipieiitly allowi-d to stand whenr i*evcrHl persons leave 
the stag*-, but 'Manet ''is altered t^ 'Mane<D>t." The treatment of 
itAlics is most inconsistent. In At[)/ioiixus tlic uuarto hiis been usually 
folionod in italicising proper names; in Orlando it has been followed 
in not italicising tbem ; in Friar Uacon. however, they huve been 
ttAliciKd though the quarto prinba thetn in roman. In almost every 
CMO the head-iitle is entirely diflferent fimm that of the quarto. 

The plftj-s may now bc'c->nsidered in order To Vwgin with, why 
b then,' no pholugraphic nproduction of the title U') Aiphonmui* Tho 
type-faesimite givtn is inconvct from beginning fo end. The editor 
bu failed t« n'inark that the Dycu copy is imperfect, having A 4 in 
fiusimilv; this mav account for xhv vanani reiiding in I. Ci. With 
rei^ard to L 335 s. cf.. the statement that (J prints the direction oa part 
ofthu preceding spe^K^h is untrue. Linn 1022 (not«): Uyec imd Walker 
insert ' w),' ' but I let the text stand,* He does not ; he printM ' Of this 
<m> stmnge." Line 1 109 (not^?) : ' " Stones " is a disylkble.' Then why 
iiutt-rt ' d.) ' Uj iMv out tlif metre ? 

Orlando. Tho eiaporor's name has been printed ' Mnreilius " throiigh- 
iiut in nccordiuicu with Aritwto, though Q appears to be oonsiflteDt in 
reading ' MarBillus," ajid the iiielrieal evidence is inconclusive. The 
change Befm-s hanlly warrantpd. thoiij^h it niiiy readilv be admitted 
that it is lui pdit.tr's biwini's^ to iiiaki" up hix mind wnat a. name is 
intooded to be. and not to print 'Serlby' and '.SerUb;^'' indiflferently 
as ProfesBor Collins does in Friar Bacon. Line 1070 i» rendered un- 
erammatical by the miapriot ' mee ' for the correct ' wee " of Q, In 
1 1184 ■ LounoB ' is nonsens* ; Q has * Sounes,' t.e. Zoun{bt- Line 1174. 
'lano, mee thuu gat, sent downu from htttuen by loiie,' is unintelligible, 
thongli the editor appears to hv quite «atisfi^ with it, sinrre he has 
I DO note on the pamgo. Q maken it all clear by reading ' luno. mee 
H Uioagbt'j On 1. 1311 the statement that, the Dyce copy reads ' love ' 
H for ' lust ' is untrue. Line 1451 : ' Hch Q 2 : om. Q 1/ Again tmtrui}. 



I 
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248 



Reviews 



Tho Museuiu copy i» slightly dofectivo at this point Hti<l tlie word kaaj 
b«;un loni away, not omittfd ; it is pn*»ent in the Dycc cf»py. 

friar Bacon. Line 497 : ' Whilat ihon uo fit to Oxford with our ; 
troup«8 ' ; so Q 1 : ' Bt ' in obulisix). Obvimisly h mixprint for ' flit,' i.e, ' 
remove. Line 777: • Bnmjau Ms. cwrr. in (J 3.' Presumably in somej 
particular copy of Q 3 ; the eciitor has not flbatcK^ whnt copit'-s hv \» usiag. 
It HO hnpnenK that the correction Hoh been made in tlie MuKt^-uiii c«>py 
of Q I. In 1. 1347 is found the extraordinary rewling ' thiipyptian ' 
(notes have ' th' /Egjptian * ;> for ■ the Qyptian ' of <^ I . Ir Pn)fes.'*jr 
Collins rtrally uaaware that ' Qypliau ' was used in Elisabuthan Enj^Ush 
for "Egj-ptian"? Lino 1580: •TjwHna of two or three words after 
monitni in Q 1.' There is do such thing. Again : ' iVa and i/our add. 
Q I iu marg.' ; it should be ' wu and your': th« beginniuir has been 
cut away in binding. Line 1903: ^iaeU lost in Q 1 B.M.': this is 
untrue. 

James I r. It ia qiiit« unneeeseau'y to treat the first stage dirc-otii-n 
iw cornipt. Thn ««iitnr printjc ' Knter Aster Obemn, Kixuf of Fayries; 
un<d> AntujM<8>, who dance.' Apparently we are to Btippoee that' 
Ast«r is Obemn 's christian name I Q reads: • Enter After ObprA Kti^j 
of Fayrise, nn Antique who dance'; (at least Pro(es8or Collins ssj 
that Q reads 'After'; I atii not sure, but it is ofti.*u difficult to 
diatinguish 'f and long 's'). Except that 'After' should be* 'after,' 
this ia i|uite correct. ' Antiijuc " is a technical U-Tin for the bur- 
lesque danc« of an anti-masque, and there being several performen 
takes a plnnd verb. Line 5 : ' rocon.' The collation has ' r«8o» Q,' 
but aceoratng to the notes this error is only found in the Dyce copy. 
That copy, however, reads 'recon.' From 1. 53 to I. 110. it will be 
noticed that th*? nwilings of the Mumtitm and Dye*' copies vary con- 
siderably, and that the editor follows now om.- and now the other. It 
hnppen.i, however, that the Mu.wiun copy m imperleel at this point, 
leaf A 4, in which the variations oecur, having been printtrd Ui supply _ 
the deficiency soincwhere about 1820. Thii^ ha» bcL>n udstaken forfl 
niUiuHk Similarly in thu case of the I5!>4 ipiarto of Orfan'/u, the 
Bj^- BOpy has A 3 and the whoh* of F in modurn FL-jmnt. which 
Profe-ifflor Collins actually iisspHm to belong to the pdition of 151*9 
(u. 2+3)1 It uuiy bo questioned whether our knowlpdgp of the 
ElindH'thati drama in lihely to be furthered by entrusting the editing 
of imjHtrtaiit texta to gentlemen, whatever may be their litopary m 
reputation, who either do not think it i>ece.ssar7 to examine the I 
original editioTis of the works concomod, or if they do aiv irieHjiabh' 
of distinguishing betwoon the typography of the sixttrcnth ami that 
of the nineteenth century. In tlic present ingtance the result is thirty- 
aix errors in fifty-seven linea To continue: — I. 307; 'She «4otj'J^ 
conitent.* Why italic f Q readtt 'Khould*; it is not an apootropbe ■ 
but a broken 'I.' Line 6,>3; ' <Ober.> But marke mee more.' V isl 
quite right in giving the wonl» to Bohan. It is he who is prewniiug | 
tte jigs. Line 812 <note): 'There is no oeceasity to iu«;rt "or. 
Then why do so? line 1717: "The Ood of heouen reward thw, 




Jteviacs 



249 



I 



miirtfwus knij^tr Why a query ^ Q has a full stop. Line 1)JI9: 
■ (mircoe ' ; Q hiu ' fairie. 

f}e<frge u dreene. L 818: 'ily Lord of Kend, you ore wclcoiBe io 
ihc Miurt.' 'Krnd' in an in]]>OR.sible form; Q has ' Keod.' as a con- 
ttwnion f^r Konda); read 'you're welcome/ Line «38: the dash 
at th^ end of ihi^ line is needless ; uuderstaml ' ihut ' iifler ' But ' in 
ihe next lino. Lint- 881 : a^n the inwitioQ of » daah reduces the 
[xutsag*: to iiotiseuMj. Line J027 : "No. uor the 8t«ut»?nl groonie.' This 
M nnjTTainmatical; Q has 'not.' Line 1076: ' feee." Can a text be 
said to bu oditcd in which »uch tuis]>rintM an thiti are- retained ? 

Pwma from the Sovtle. U would have been far more convenient 
had thf*e bot-ti divided into clearly innriied grmijw according to the 
worlt!* in whi<?h they f>ecur. As it is, tho whprf*aboiits of t-ho poems is 
nnly mentioneil in the notes, and there not always correctly. Thus 
Mil— iJtxi aro said {y. :i90) l/i bf fi-oin Nfver too Late, though 
UtXi ivully belongs to the Fanswell to Ftdly (as correctly stated r»n 
p. 3!H>, 

finally n lew wonls must bo said concerning the Dulvfich MS. of 
Ihi' iMvrt t>r Orlando. Professor Collins more than onw in.>tii>tH on the 
vuliii' i<r t)ii« d<K-iiint;nt in nonjiinction with th<: prints text, but he 
hiw nowhi-ry ilitifUKitcd thi^ relation of the two. Three jKUtiiihililies exist: 
(1) that (j in a mutilated and surreptitious version ; (2) that Q r&pn:- 
•pntd nil abridgpcl nliiyhoiuic version miule tor some special object, afl 
mamtaiiwd by Mr Fleay. and (3) that Uie ms, repreoents a revised and 
espaiided veraion made when the play wag revived by Stmti;re'» niim 
in IfiKS. Onu would certainly have expect»rd some di^iciitvsion of this 
intiMVNting problem. Prufe«i.>*or Collins, littwever, contents himself with 
giving a reprint of the M»., and. moreover, a n^print whirh is so inaccu- 
mU' as to be utterly usolesK. Indeed, it follows the original less closely "^l 
than that printed by Collier in 1841, of the existence of which thu-^ 
editor was npjjarently ignorant, since he repeatedly spcalta of Dyce's 
tnuutcript, whereas Dyce in point of fact merely took hia rt^tulingn from 
Colliyr. In hi»t prefiu-e the editor implies that he had a transcript of the 
SIS. made. It lit much to be rvgretled that this transcript was not 
tM.ll to print from, for it is quite clear thai the I«xt in the Api)endi)C 
haa been aet up from a copy of his own edition, which has betn vury 
imperfectly rnrrecl«d l« agree with the MS. This will be obvious from 
A coiii|iari3on of the following paesages : 



ColUiM, |>. ^4. Quurto: 

An4 if Imi iliM) dcnio to aond too downv 
'the Klein wliivl) DeUoyra amt tn Hnr* 

(W1w» U ttuy In leiiiarked that 'nkJtt' 
u \hA xUtor'a oiiiipmit for ' ahirt ' uf Q.J 



LtoeB I17a~90. 
(.'olIiiiH, p. it)'. Quarto : 

Witb that, nKiiititcd uii livr insrti- 

oulnurvd coticb. 
Keiuic dmweti with |)e8cocksa [iroudly 

ihniugh tliu ain^ 
She Hew with Iris to Uio tiphcre of 

loUB. 



250 



OoUina, p. S71, Hs. ; 

And if h^ d'm tlvnio to mnd tiw downe 
Th« sbht whicb Doiiiiijis aani to Har- 
culos. 



yf ho dcnyo to oe^nd mo downo the shJit 
thut IJcifttiym sent Ut Hprciiliw 



Lines U7S~8a 
Calliiw, pi. XT3. UK.! 

With thnt, in<>unu<d vjtaa ber puiy- 

oolnrad 4'4Mteh, 
Being drainin with |)e»ooGlcm proudlT 

through the aire. 
She alipt with iTiH to the itphdar of 

Ditlwioh M9,: 

v^" that montad, \-po lit'' pty coubirad < 

roMch 
•h« wlijit ir*o Iri* to the ipbcor of loua. 



The persistent innccumey of the reprint in mattcni of detail is well 
seea in euch n passage as the following: 

Collins, II. 368, 11. 885— 71S (6). 

Peminile jngegno di tulti utxl* twde 
Cumtiti vuoff «t uuti fiuiilinnuM 
CoDtnuio (wjntUi jirojiri de la Rede 

Infdioo O niiMer 

Iiiportuno Huporce ett . . . disiiattOBe 
Pritie d amor di fede ct di uoiisigli 
Temerario cnideli itiiqup ingnil-i' 
Par poBtilciiza vtomiL nt niuiiiiu niLliu!. 



Dulwicli M8. 

O feminile ingegiia di tutti niAli iwda 
come ti Tuolgi «t muti fiiviliiMtiitu 
Ouutrario oggofUi firoprio du Ia Cede 
O infrlioe, O niiwr [ J credi 
i»(M>rtiiiKi, miix-.rlie ett diiiuottose 
priun d' Atnftr ill fedo et di CoDsigli» 
teu»erarii>, enidcli, iiiiqua, iiunUtt^ 
]>vr {Mvitilcnza oteroA &! tniinoH nU*. 



iDDtlui b, luodor • knatt 
Vilayne, Argalio,whor!imea»rf what lyps 

And br&uea me to my faoo 1 by heauouen, 

D&UAt 
tiira [)«ceiiMal« in di»pight nf thmwt : 

, , . <ni hiH iieck. 

VillaynA, prouitU me straight a lions 

Bityurie. 
Fur I, thou fte««t, 1 uin mighty Her- 

Soo whom my tnuMy dubb vpon my 

novk. 
I mtut tu hvll to fi^t with Certvruo, 
And liud oni M«dor tber, you vilayiiWr 

iir lie dye, 

nbaU I doot 

Ab, ah, ah. Sirbo, Argnlio ! 

Ilo gc tbo II Hpcor friMud out of . . . 

.... biiie .... bu ... . pre 



nik-dur i> medot a Lna*r 
Vilayne Argabo Thor* inodorAwhat lyes 

he here 
and brauea tao to my f&oo, by he«uO 

Uv tear 
him iwocmvalc in deepigkt of cbme. 

bh hiM uock 

Viltaynii t*t<o^'>^ i^^ straight » lions 

for I thog oeest / i am migbty Her- 

cgle« 
we whvra my mowy clubb vpon my 

neck 
I must to IiqU to figbt w"* Ccrbcnia 
and find uut Modor tber, yta TiUyneaj 

or lie dyo 

— aball I doo 

oh, ab, ah. Sirlia Argalio 

lie f^uo the a apear ftwid out of [ ]mo 

[ > 
Ik hauc tiie bo my LattcnrmrnVirc 
[ ] the [ "^ ^ I 

[lacuna o/ tome /uKst] 
[ jhtnA of tbc glociousG w^yns I 

As A matter or &ct th^ t&xt line belongs to a ditferent plajM \ 
altogether. 

The iiatuiv of the jtuiinH whieli Pi-ofessor C«lliuB has not Rpiircd in 
ordor to make hin eiution accurate and trustworthy must now ha 



of her glorioua vaync 




Jieviews 



2Sl 



(apparunt. If the above remarks have been rhiefiy devoted to pointing 
out errors and defects, the blume does not rest with the romwcr. 
Coiinten'fiiUng merits have be«n sought, and sought in vain. The 
ootoaion sense displayed in the generul introduction is rendered nugatory 
'by the retnilu there aiUined being contratUctcd in other parttt of tlie 
work. The labour expended on the notes is largely misapplied owing 
to a failure to distinguish lietweeii what is relevant and what i« not. 
Professor Collins' reprint of Ureene'a plays will derve until a better 
'» produce*!, but to put forward careless and suiJerfieial work of this 

I kind as a final udition is a gnjs» icsiilt to English scholarship. 
W. W. Oreo. 
Underwoods. By Bex Jokson. Printed at the TJniveiaity Press, 
Cambridge. 1005. 8vo. 165 pp. 
This beautiful reprint of the Undfrwuvdji amply ivjUiseti thu primary 
uim of thu publishc'rH. to produce an artistic book ; the type ia bold 
aind closely »et tugetber. and stands out effectively on a well-balancwl 
page. Jonson'a half-forgotten IjTics, with their slender vein of inspira- 
tion, reappeiar in a fonii as far removed as pomible from the eluioKy 
printing of the original text. But readers of this lUvxeta, while fully 
appreciating the charm of the typography, will be keenly interestefl in 
the reprint from a farther standpoint. The text follows the 1U40 
Folio, m the second volume of which the poems first appeared as a 
pen<i&Dt to The Forest of the earlier volume. They hud a scpamto 
title-page, and this is reproduced : but, as no clear intimation of the 
source IS ^vcn, it would naturally be inferred that the poeiufi were a 
—parate isbiic. The pacing of the Knlio wa.-* continuous for the 
asq»e9 fi»m 1610 oowaros, the Underwoods, the later Entertamments, 
id the (ragiuent nf Aforltiner; by a freak of the printer the running 
hc«d-ltne of^ 'The Vmler-wood' was extended to tho J'J}ttertaiHmen(4 
which immediatety followed, with the result that they are reprinted in 
the new edition. Yet Jonson'a prefatory note is given in which ho 
expressly limits the title Umlerwouds to ' these lesaei- poerns.* The old 
text has been reproduced with two slight touches of revision: capital J 
and V are printed coDsi.itently, luid lower-cusu letters at the beginuing 
of a line have been eorreclud. Misprints, however, and faulty punctua- 
tion have been retainetl— such a [H>rt4'nt an ' Cacoches,' mich lack-I^atin 
aa * in mortem Salium ter quatient htimiiiu,' sueh sianne and gratuniar aa 

All good PoUtric betice wiw l)own«. 
And are boxmhU 

In the old Folio theM^ pointa cau.se no difficulty; the reader is on 
the alert and com-cts iiiwtinctively. But, reset tn clenr and comely 
type, they are disturbing and incongruous; they do more than eaten 
tho eye, they offend it, and one longs for the bare minimum of correction 
uee<led to eliiainiite mere inartistic blemishes. The reprmt appcon to 
add some errors of its own. ' Donner'a' (p. 29) should bo 'Donnor's'; 



262 



JSwieu/s 



'knowea to doe In tnie respects' (p. 31) should be 'It*; 'But though 

be bred, no a» to 



Lor© 

conoealc 



thrive' (p. 62) should be 'For'; in ' And muHt 
lie bU birth ' (p. 63) ' as ' should be delete : : 



iuid in ' He vexed 



rims, and busied the whole Stat* * (p. 100) the correct rwutinfif is ' time.' 
The original t.cxt, as in so mauy books <if i\w timi-. iindiTWfL-ut cam.-ctii»n 
while tht shBL'bi were pasmnc thmiij^h thy prvBs: for iiitjlsnco, the 
'roiotA' of p. 07 was corructLi] in inoet c<ipie-<). Htit tor tht; variaiite 
here cited I b<<li(>V£ that the Fulio was nut re^ijKimiible, and a list of 
minute differences might be iwided. Worae still, there are a group of 
orrore due tn such an elementary mistake as misrciuliog 'f for ' f ': m 
thus, p. 2fi,'i8 loath to leave, Left Ayre, or Print' (where ' lest ' = least) ; fl 
p. 72, "Or left that vapour might the Citie ehoake'; p. 95, 'grow The 
faviE that thou art promis'd'; p. ]33, ' i\\K feat Tluit she is in' {jkkw 
Laily Dighy ia in heavon ; at least Ben thinka so); p. 147, ' thy fmier 
bed' (a double blunder, with 'niolliiii thuntn' to oonxct it on the 
oppoaite page); and p. 151, ' Wives, and /e/fjt' (where ' ^eirs'sselves). ■ 
The text then in far from Hnwlew; in an edition which is sure to revive ^ 
interest in the Undertvnvtli it is a pity to place needie«s obstaelea in 
the way of the reader. 

Perct Simtsox. 

The OoapeU of St John, 8t Matthew and St Mark- !n Wat Sanm. 
Edited from the mss. with Introduction and Notes by James W. 
Bbioot (Heiles Lrttres Series: I. EarW English 'Literature). 
3 Vols. B«i3U»n and I>jndon : D. C. Heath. 1904, 1905. 16mft 
ll+2»0. U7. and 84 pp. 

Tbcsc three dainty volumeK fnnn part of a mticm of reprintA of thv 
EngliBh classiea, of the type with which we have of late become so 
famdiar: thcj' are neatly bound little pocket editions, clearly and 
accurately printed. 

The JtelleH Lettfea Series is, however, honourably distinguiithed from 
its prwlt'ccssdrs by containing n sj>ecial section devnU'd to PCprintA of 
Old English classics prior to the yt-ar 1100; and the three gospels 
form part of a set. which is already reaching coosidonible dimensioas, 
of editions of the sburiur ducunitsnte in Anglo-Saxon proae and vt^rae: 
The three West Saxon gospels are particularly welcome, since good 
editions havi' for some time 1>ern difficult to prt>ciire. In the eady 
days of English philology Angln-Saxnn was chietty valued as a weapon 
of the thcoUigian. bent (in pntving his cast^ by ao appeal tu the UMige of 
the English church in the lOth or llth century. Aceordingly, as early 
as 1571, these gospels were issued by the ^ottistant printer. John 
Dnye: 'published for a tci^timony' of the use of the scrinturaa by tbo 
Saxon Church in the vulgar tongue. But in later tiiucn these vereionB 
have suffered somewhat from neglect: they have been overshailowod by 
Bubecquent more exciting dijuovoncs in the field of Old English. 
Though se^'cral times printed in aillections of Bible translnlione, sncb 
as those of Junius in 1665, Boewortb in 1869, and particularly in the 



i 




Reviews 



253 



great cdiuuti of Profoasor Skeal piiblbihed. between 1871 and 1887. 
tbesn? Wt'Bl Saxon vcniionn hiive only oncx), since the Jajs of Elizal«»th, 
bc«;n prinVi>*l, in exlciisw, by (huuuMilviM. 

Tm- nn*sHnt f<litiuD is in nvt-ry n'»iK'ct ft satisfacton' one: the iexi 
18 fonneci hj colUliu); onct iDurr with the Mss, thu vury tMirccl vvi-siun 
publinhMl by PiDfusHor Skeat twenty yeant a^o: ami its accuracy leaves 
aotbing to be dt.-ttired. 

The Totunies will lie so useful for placing in the hands nf i*lemfnlary 
Bladonta, that it i» to be regretted that only the gospel o( St John is 
fumiftheil with iiolfB and with a glossary. It is a jiity that this glossni-y 
WM not i-ukrgiid mi a» t«> include the words found only in the diher 
gtwpeK Perbaiw. however, wheu the whole series is complered by the 
publitrttiou of St Luke, the <?ditore will bring i>ut a special volume of 
nou>?i and |LrIoewaiiy to the four goxjicls. Such an a^ipetidix to the series 
would greatly inci'eaae its value. 

K. W. Chambers. 



I 



I 



JfoureamrEssaiadePfiilologieFraHf^iige. Par AxtoineThoM-us. Paris: 
Bouillon. 1905. 8vo. xii-4-416 pp. 

C'est la Htihij dn volume intitule ^istiis de Philolugie Fi-an<;aise parii 
chez Bouillon en 1SH8. Ave*; ces doux ouvrage* il est niJceswiii-e de 
00D9ilttert''guli'iu(.-i)tdu iwnw nniv.\\v\v» Mrhmijei d' Et;im<ilotne Prani^aise 
(Fnseicuk- xiv de la Bibli'jthiquc de h Faculty des LeUri4 de I' Universite 
de PartJi, IJ)02). Aprt*s avoir dirigi^ si-s n-chcn^hcs <laii>t tous lo8 
domaineb de la philologit? ruinane, a]>rt^s a\'oir donn^ une grande partie 
de «on tomi>s mix t^tude-s concemant I'Instoire du moyen Age. lauteur 
n'est di" phw t-n pln« HjM^Tialiw^ dans lf« pmblemos de loxipologie ct 
d'itynjoloj^i.'. li nmiB pi-enenle sew id^-e.^ wur la 'ncit-nee etymologique' 
dans It! pn>tni«-r article nil volume Xovvmtix Es«aix ipii est la reproaue- 
tiou a/ec quelquws retouehi-*t d'mi travail piuu le X" dt'cfmbrc 1902 
diuiH la Rfvit0 des d^ux Mondes ct intitule La Science ^tymolor/ique et 
la laugue /rangaise. Lc- titri' aoul dt; I'lHudc on indii|i]<> I'l-d-prit: 
M. ThoiiHis coiisid^re que la nctence de IVtyniologi*^ iw iHiurra 'mi 
ConslituiT MiiVn rtiidiant comparativemrnt et contradictoireinent la 
ftiicci'wion hisUiiiijUc di>s j'aits, des sons, des id^es ' (p. 1 1 ), C'est Ik son 
loinciiM! vt oe prinriiie n'oppoi* k ctiui de I'^oole s^iufintique n-priW-DtiJi; 
wirtout jiar Hugo Srhuchanlt niii a (If^veloppi^ ses idiS?s dans plusieurs 
acticl«fl notajninent dans Vber aie Laulgeaetse, Runtaniache El^ioloffien, 
et en divers endroitu di* la Zeitschrifi fiir rontaittsche Philoloffie. Le 
H^numtiite allemuud pLua*^' uu'il taut prendiv en cnsidi^mtion non 
seuleuient le devL-IoppciiiPUt uett »ojxa iuai» au»uo t>t Kurtont le d^vt>lop- 
iiciaent dcs hcm. linnucnce des foriiies des mols connexei* ponr t^tabfir 
I'origine de I'uq d'eux. En wKuitie il milwnlonne te^s tran-HfonnatiDmi 
jAyMologiquee aux iiifluences peychologiquea landis que M. Thonuw 
[m-iiil coiuniL- uniqui- ba.>«> lirirntifiqiie uue s^rie de lois phou^tiuui^H 
math^matiquement fixee^. On compivnd des lors qm- la nivthiKle du 
phil<»Iogui> fran^K soit beaucoiip phis rtguureiine ei euuduise k im 




L. R. 



17 



254 



Hem 



cws 



inaxiiiium de vraiserabljuice bien plus 61cy6 qiif celui aLtfint en miivani 
la nwilhode ri<> M. Schnch»rdt. CVpoiKiant M. Thomas reconnalt aussi 
€[»« to t«5niantiqut* a. stm ^liliu'^: vi\v m^rt ilt- mintn-H|>n'u%'e aux 
i^ultats fourois par IVnqu^tt? historit] ii(3 et elle j>eul psirfois y siippl^icr. 
'Et, dit>il maliciouseiiit'iil, il y a en jiarticiilier iin raate dotuaine ofi le 
langage Beiubte se jouer dt-s lois do la phon^tjque, C'est celuj de 



I 



I'ftnalogic. qu'on ])cut ee ivpr^aenter corame une'sorte de Cour dea 
MimcleR CWt ik qii'un voil dufl mots qui ont ponlii Iciir t^^te on Ipiir 
queue s'cmparer saas vergogne de cetlt; ciu voiniii pour fiure figure daru 
le mondfi et so livrer k qiiiuitit<^ d'niilrfs toiiw de paase-pasBe doiit K- 
Hpectacle est liut pour d^-o^iiLvrtt-r untiv ruison. La st^miuitique a VtBil 
8ur ciix ot, mietix que la phonilique, l-Ho pL'ut iiuuk Uvrur lu secret di> ^ 
luuTH faikt vt jecstofi ut Ics defi^rur nux trtuunaiix dunt ilfl nnuwrti-went-' V 
D'autre part M. Schuchardt kl- wert de la phfrni-tiqiu' cmiimi? jxiiiit du* 
depart dana Ki-x rechrrclirH qui toumt>iit au pFtychietme une fnis iwuleiuent 
qu il He heurU? h dt>h diflicult.i^H ui*i la phon^tiquc liii H(>mbti' incapnblo di? 
iouniir aucua secom-s, l^s deux pbilolognes ne sont done puiut .-^par^^ 
I'un do Taiit-n' aiit-irit. mi'il seniblr an picmitT abonl, ct si Icur* piincipvA 
difibrent, t;n pratique i1t> ee donnetiL parfois la maiu. 

M. Thomas 8e d^fie un peu Afta coniKid^ratiuDtt ^<^ii^rale«. D pr^f^ra 
\i-» oxomplcii ooQcrete et lee fuuilk'H nublfiucnt di^limit<$c« ct c'oBt surtiiiil 
«lanM led articles venaot apr^ ct'lui quir noTis vt^iiouM de Bignaler avec 
quelque detail qu'on tixiuv^^ra. k-s htitu'i.-u84.''s applications dc sa m^tbode 
BcieotiBque. Panni leK articlt*.-* len plim iiiteressaritn dti livm qui 
dana la seoondc partie, pp. 149-346, ni? contient que des ^tuaes 
^tymoloffiques. nous citerons It-s Huivatitn armarijo; aneneril (06 I'autvur 
rcconiuut one composition en -arllis (aritis + His) lui pcruettant 
cle retrouver longine de mots comnie cftaumerit, /emerii. f'romeif 
teril, meei'il, orgerit'): eaiUnu ; cfrr\«tiK; cibre ; eonsitr, desi«r; deintai, 
tiii il ivtrtmvt; le uiot fsmoi {de -^ csntot) ; JatUenw: hular, cpii; 
M. Tbonias 6ut remontcr «ans doutc^ possible k genegta + ari», 'comtne 
cela. dit-il, sautt- aux yeux de tout bon philolojpie '; inere, qui vienttj 
nan de nivariii, coiuiiie I'autour I'nvait d'abord eru ot auuteuii dano lc«i 
iSimoires de Ut Hoci^lf Ant de t'OueM. IH(i8. uiais de hibernnm. 
COmme il Tadrant umint^naiil, p. 3K5; niiitre, qu'il derive de *7u/ctvlA 
('chouette'); mtade cians le Reus dVtoffe de laine. qui. cnmnie il , 
Ic niontre irn^futabl^niHiit, n'est autre que le iiom de Worstcad 
(Jioriolk) dout les ^toffes p^n^trerent en France au siv" fahcW ; trouver, 
od I'auteur refute avcc bi>AUCOt)]> d'e»prit IV^tymoIogio geoi^ralo- 
ment donn^e turbare, et h la place de laquelle il soutieiit le beaucoup 
piu» probable *tropare. A propos du uiot ^utotyer 1«b pxeiuples 
fuiimut par le gliiwiiiitx; bebn^u-frativ'us du Sill" isiivie, publii^ par 
MM. Lamliert Mayer et Luui» Bmnditi, eoiifinueiit I'id^' ^iiiiM* iko- 
M. TUumas. et pcmiettont de rtycter complet<'in<tit l» part du...deiTiere 
que M. Dottin » vouhi y fourrer siiiui avoir, nous le cmignons. suflisam- 
ment rt-Hfkibi. II nous donne ci» effet les fornies &dorjfrt (175. 75 J, 1 

' hm mote blaril, Unrril, Hilleril, Bunt Bixu'lL-N imt M. Mutio BaqoM dUM Maj 
compte-randa. jDurrutt dt* Savant* (ao&t 1905). 



Reviews 



255 



(194, 9). ihlurjement (174, 20). klor}emf»nt {lib, 71), klor^e- 
te. 44), kiarjoni i(lo8. S3), cjui imlujtient saiiA doute [loasilile le 
radical *coitubricare. 

Signalons encore la »olutinn definitive d'line qneHtion fnrt delicate 
U transformation de -anti* an -ier, v% rint^rtseant article sur \v euffixe 
-fli-ici'iM, oil il reprend et corrige leu idees exposees par MM, Homing, 
Trtblcr et Moyer-Llihke et oCi il dnnne une listP d environ 250 mola 
fnLn^Tiiji et pixn'tn\-4ius. itiasctiliii^ efc f^rainias. forin^ a I'aide de ce 
suffixv, prttuvant aiiisi que sa vitalit45 a 6Ui beaiicoup plus grnndc qu'on 
n« I'avait renmiiu jusqu icL 

L. Bbandin. 



Dante the Waiifarer. By Chaistopher Hare. London and New 
York: Harper. 1905. 8vo. xviii+355 pp. 

The idea of this hwM. is excellent — a record of Dante'.s wanderings, 
illustrated by pertinent pa-isagee from hia own writings, and embel- 
liiihed with photogmphs (nmny of ihem original) of tho more iiiiport.int 
aputs which ht^ visited. And the general scheme of its armngfiiient is 
rhnpK as satisliictory as the somewhat vague chn:inoiogy of the Poet's 
^fiovemeuts will pt-nuit. Sumi: of the chapters whicn at firel sight 
saem iotnisiona embody a catena of Dante's most beautiful thoughts 
on different lUfpects of Naturtr, luid find their jiintitication therein: 
such, e.'j., are the di^n-esHtun in Chapter i on " Miithen* and Cfuldrau,' 
the Chapter on ' The Binis of r>ante.' ami that on ' The Kighway of the 
Sea.' There were, in fact, certain mondR nf Dante's verentile genius, 
and certain departments uf his insight, which the writer could nut bear 
to leave unrepresented. But while we applaud his judgment we cannot 
but wish that he hi«i shewn more skill and deftness in effectuating it. 
The Divina CitfiuiteiUa is a mine of treasures, and of ver^- varied 
trcniiUrCK. A hook \ikv thin might have given iih a classified inuacum 
uf the same, ordered on a detinite plan. But it retnainB neither mine 
nor museum — something between the two. 

And while in general this externally attractive volume gives one the 
iiupi-ewioQ of a nuxas of good things rather loo-sely put together — more 
than once, e.g.. the author repeats apparently unconsciously, and almost 
word for word, a sentence or a paragraph already given in an earlier 
chapter — a more detailed view conbnns the impression. The same 
fiiultfl of stylo which disfigured the earlier and in some ways equally 
bscinating book on TUe most illustrious Ludies of the JtaUan Reiiais- 
taivx. tu« here repeated : and ihcK in also a goodly faan-eat of small 
inaccumcicH (both material and verbal) and of nii.sprints. VVhy ilo we 
road on p. 33 'IVregrino, quasi momlicando,' and on p. 137 ' felli- 
grino' (sici '" 'he sjunc quotation f'runi Conn. i. 3 f On what authority 
U Che pavement in the Duomo of Siena attributed to Duccio ? and who 

responsible for the twin solecisms of 'San tStefnno' and 'Santo 
!««'? Why, jigain, should the beautiful if not entirely original 
chapter on 'X>ante as Alpine Climber' be disfigured by the fimtasUc 

17—2 



296 



Reviews 



iiiterpirBtatioa of the Corda of Inf. xvi * Again, if the wnt«r de«ireii 
Ui give a c<MitL-iii|)omrv illustnitiDii of moiiiitnincrring, wotild not 
SatitnbcnHB thrilliog areKuiit t>f iho feat uf P^tcr of Aragon have been 
more in point than a rpfrrrncii t^ 1555 ? 

But w» will i\3nt(;iit otirselveH with the foregoing* criticisms, though 
in*U*d there is m»tt*T for many more, and conclude with a word of 
nppn-ciution. 

If' lu bt'Ilo stilo' is lacking to our writer, there is no want of 'lungo 
Mudio ' of H Bort, «nd of very sineore 'nnioif.' To bf^^noors in the 
study of [►iiiiU\ this book umy hu of considerable tisc, in spite of its 
bhiriiiahm. and not least for lU colloctioo and qmi«i-claa(tilication of 
■uniir of thi^ vttry fint-at patwutgfy in the Divina C'jmmedia. 

Lonsdale Raoo. 



JMin Tritoffia Hi Dania. Da Al.E88AXnRO CHUPPCt.U. Ftorvuce: 
BarbJ>ni. 1D0&. 8vo. vii + 380 pp. 

IhntatiMfia : Vita mi operg <ii Dante Ali^hieri. Per G. A. Scaktazzisl 
Stx l-ldiuonu con ritucchi e giuntv di X. SCAItANo. ^lilun: Hoepli, 
lOOO. KJrno. xvi +424 pp. 

In lUnntt Cuminetlia. Con poatilli c ccnni introduttivH del Prof 
lUKrAKtJjO FoRNAClAKl. Edizione uiinua«)hi. Milan: Hoepli, 
U)«5. 32mo. xiii + 577 pp. 

IWtij/iu J)nt»t€aca studiata nW Paradiso. iJa (IruSErPE Tahozzi 
{BiUiottCA lUgli :<tude»ti. 132, 133). Leghorn: Giusti, lf>05. 
IGnio. x-f 112 pp. 

Avtnamento alio Studio d$Ua Divina Commtdio. Da Fsancbsco 
Flamisi (samo Seriwi. 13-4. 135). Urghom : Uinsti. 1906. 16ujo, 
X + 1 22 pp. 

Taeole liitwtuntive delitt Dieina Comnudia. Da L. M. Capblu (same 
Scries, 136). Leghorn: Qiusti, 1905. l6mo. 90 pp. 

The title of Prof. Chiappellis book is at once enlightening and 
diiinppointiog. It is enlightening bccattse it restore:* to tta more 
Bcienlitic use the word 'Trilogy,' rather unfortunately misapplieti by 
Witte to the triad of the Vita Nnova, the Oonvivio and the Oommedia. 
On the other hitnd it leadm one rather to expect a somewhat ^cirntilic 
account of the etructure and mutuiil relations of the three Canticfie; 
instead of which we have the usual reproduction of a more or leas 
disconiiecled gn'up of iL-cturea deliverea at various limes in Rome, 
F)on>nee aud Napl(.-8. And there is no proportionate treatment of the 
three element>rb Thu bulk of the book doiuii with subiocts from the 
Inferno, thtt Purgatorio and ParadiM having aasigned to them one 
lei'tiire each. 

Hut the diwippointniont is after all short-lived. The proljtic writer, 
wliotw [npurft on tlnaHical. artistic and political themes contributed to 




Jieview. 



the jVkop™ Antoloffia and other ReviVa-s will be r»niilinr to m&ny 
English and American read«re, bnti>^ a Htore of culture aod erudition 
to ni.<i taxk, and nuiaacks KuglLsh and fierman h» well as (Irr-fk and 
Latin classics for his illiistratit>ii.s. His i-eni insight into th& claxsical 
spirit makes the lecture mi L'Oilw.tea dantegca a peculiarly illuminating 
commentary on the reniarkablo passage of fn/.Tixvi which is in some 
n!8|>e4;ts perhaps the muul fa^ciunting cpijwdi^ in the whole Caatica. 
And in this as in the other chapters, the incidental light thrown on tho 
striictiin- iin<l itiraniiig of the Coutmetlia goes for to imike up for one's 
prima facie disappointment. The printing of the volume is worthy of 
tile tnulitionK of the pnhitiiher. who \\a» embellished it with two 
excellent iUtistrationH. 

ScartAKsini's flttntologia comprises nos. 42 antl 43 of Iloepli's ex- 
oellent 'scientific ecrieis.' The first part contains three comprehonsivo 
chapters on the life of Daiit>e, prefaced hy u verv' complete rdeuini ot 
the literature, ancient and iiiojli-m. bennng on nis life. The second 
part similiirly o]ieri(s with a chapter of 'e»;niii bibltogrufici .' followed by 
three which deal resjH-clively with (1) the Lite as exhibited in the 
works, (2) the minor work^, (3) the Vommmini. 

The value of the book ifi E-nhanct^d, though itB ' readableness ' is 
naturally im|ittiicd, by the constant introdiietion of references: and the 
astonidhing amount and variety of matter compressed into so small a 
space is so well arrange<l that it escapes being unmanageable and 
bewildering. The ediuir of thi.s third edition is to be congratulated 
OD li creditiible jterforuiiLiice of a diffieulL UiaW. He has con8Cteutiuu:«ly 
refrained from substituting his own cheritihed eonvictions on {Xiints 
not proven. Where .Scrirtiuntini'K view is specially open to criticiani he 
has appended a note of his own ; oidy when; the onginal compiler has 
been proved ' manifestly wrong' has he ventured to alter the argument. 
The cnaniPteristic chapter on 'La vita nelle ojwro' he has left practically 
untouched. Hi.t additions are, (]uite reasonably, moat prominent and 
most important in the deimrtment of bibliugmpliy. 

The ' ixliitioue minuaeoln ' of the IHvinit. Cummedia. published by 
Uoopli is a charming little pocket edition, beautifully priuteil on India 
paper, and admiramy adapt^'d for those who frnijuent the public 
afternoon lectureH so often given in the larger Italian cities. The 
notes arc brief and to the point. The leanied editor, while availing 
himself of the best work of his predecesnoix, has kept simplicity ever in 
viow and taken care not to 'darken counsel witn knowledge,' or to 
overload the text with waywaiil or sii^^erHuons comments, 

Id bis excellent BibUoteca degli studcnti, which desorvca to be better 
known in England, [{atTaello Giusti of Livorno hn« abeady published 
thid yo«r thre*; usefid manuals on Daatc, the Inst on out fiat. The 
Gnt two. being double volumes, are issued at one lira each, the third 
at 50 c, and all three are well worth and more than worth the price. 
Prof. Taroxzi'it Teologia t)anteaca taken the form of an elaborate 
analytical commentary on three comprehensive passages in the Faraiiw, 
Tit Par. I. 103 — HI, in which he finds a summary of Dante's teaching 



258 



Reviews 



on ' Ood and the Universe'; Par. ii. 112 — Ml, which forms a text for 

the diacuasion of thu 'oif^am dcJ monUo' and the Motive Iiiteliigcacos; 
and Par. xiii. 52 — W. giviof* the fuuduuiuDt-al doctriut- of Cruation. 
Each passage is printed in extenso at the bcginoing of it^ ou-d cJmpter 
anr] then taken clause hy clausu ul tha bead of the following pnges, 
while illuetnitive tertine from other purta of the PunvUtu, liiid occa- 
sionally fmni the Inferno and the Piirffahn-iQ, are adduced in the roiirse 
of tb« commentary. The method sthkea us as acientific and illuiui- 
Dating. 

Prof. Flamini's Awiamento, appropriately dedicated to Isidoro del 
Luago. is an HtU-tnpl to treat, not only scteritificnlly hut originally, 
•what would othcrwie*.! he n somewhut hackneyed theme. He deals with 
the genesis of ihL- Diviiui Cuminedia, its iirL-ciinMim and ita .soiirww; 
with it« literal, allogorical and anngogic significfttion : with its fame 
and fortiint! a» a bot)k ; and appends an amtilr- but well elected 
bihiingraphy, in which we are glad to find Toynbee's Dante Dictionary 
specially marked as 'o[)cra imimrtantissima,' The central section, on 
tw. signiBcation, is the moHt original mid pmbably the most valuable. 
lb is wised on a careful study of Atmiiiae' cwiumyLilJiry ou the Ethics. 

Dr Capelli's Tables will he less interesting to the gencntl reatier, 
especially if he have already in his hand the rather more elaborate 
mauual of Prof. Polacco published five years ago by Houpli, But for 
its original purpose the btllc voUuni; \» probably elaborate enough, and 
it hatt the merit of being based on very recent reBearch. 

LOMSDALE RaQG. 



Cervantes in EuglutxL By James FtTZAtAVRtCE-KELLV. Londun: 
Published for the British Academy bv H. Fmwde. [1905.] Sto. 
19 pp. 

Nothing could he better than the address delivered by 3Ur Fit£- 
maurice- Kelly beforL- the British AcHdemy mi the occasion of the 
Tercentenary of Don Quixote. It is admirable in matter aud (lignifiod 
in manner. The main thuniv of tho diacourae is doflly intertwined with 
the Iwiding [wints of the great writer's life and aims. Without any 
show «;f pedantrj- the chranology is so well observed that the Firet Part 
of the novel and its contemporary influsnce in England are dealt with 
before WIS hear of the Second Part; between \\\v two .iL-ctions comes a 
short but brilliant interlude on Arellnneda. Full justice ia done to 
the NaveUie Sjtriiplares. Few students "of English literature can have 
realised tho part played by these tale* in the history of the drama. 
Of coume Mr FitismauncD- Kelly makoB u«e, with due acknowledgment, 
of the lalMiunt of other achulare. like E. Kojipel ; but he ran'ly do^-e sa 
without illuminating the subject by some fresh touch or puint of view. 
The bibliography attached to his Life of Cervantes shows that our 
author is acquajnled with the Travels of Persttes and Hiffiamvnda 
(lttl9). which was rendered into English from the French veraion of 



tews 

«Ie Russot (1618)', It riiieht hav-ti bc-cn na well to mention this book, 
ns it M!Ctru< lu ehuw that Corvantes wa^i ijuite in vDgiie in England at 
this «airly dutt*. otherwisfl theJX' would scantily htwe been any doinatnl 
for a witrfc which is not nne nlitei anthm-'H siircesst^a It wniilci pprhnps 
have been better to coll the (laper 'Cervantes in English Literature." 
Frwrn the mimiciil .sinntliioiiil, it is true, there wiis nothing iinpnrtiinl to 
chronicle, save, peijiaijs. Purcells setting of same passages (rum D'Urfey'K 
Don Quixote, wnieh baa little, if luiy, connection with Cervantes. But 
Cen'aiitua in Eoiglinh Art ia on impurtaut and fiiwinuting theme, a» 
was domonstxsted by Mr AshbL>e. From the euriuuti tille-paiJ^e of 
ShftltOD'H ver»ii)n down to Kir Stmng'ti tine etchings there is a long 
aeriefl of Eugliidi wurkK of art ihal owe ihoir inspiiution in the );;reat 
Spanish mmanca But thetsc arc all minor points; and it is a thank* 
k»8 task to lind fiuilt — however .•flight — with ii brilliant performance, 
and one that was entirely worthy of a great occasion. 

H. Oelsner. 

6e$chicht^ iler rusnschen LiPtrntur. Vnn A. BrCokneb. Leipzig: 
C. F. Amelang, 1905. 8vo. 508 pp. 

E'rofes.'^or Bruckner has ennuKi the reputation of being one of our 
nmet learned Slavonic philologietB. and he has especially added to our 
knowledge of uld Polish litiTature. His ffiatory of Polish Litenttare, 
for which he was aiiipiy otpiipped both by his minute kutiwledge of the 
subject and the oiitmiMiasm he would naturally feel for it a* a Pole. 
ftp|«!ared both in (jtmiiui and Polish. In dealing with Riuwiaii litera- 
ture, we might have had feara that the stari, di/maskiii »por {' the old 
family quarrel'), as Pushkin called it, would perhap** distort his views. 
I3«t m reality he has writteu in a genial and sympathetic luamicr vf 
t.hu literature of the old ancestral enemy, and wo are thankful to him 
for it. He stands in this respect in remarkable contrast to M. VValis- 
Xf>WHki who!«3 book on Hu)«»iiau literature. piibliKhed a few yeani ago, 
\vaji chajucteriued by a good deal of prejudice. 

The early m-riffll. including the chronicles, the correspondence 

\>etween U'lUi IV and Kurbaki, the Domostroi said t-o be by the priest 

SSylvestA^r, ami the work by the dink Kotoshikhin, in discu-ssed in two 

cjhflpters. The n-al Ku.'wian literature biggins with the third chapter, 

>ritD the extrannlinar\- ehaiige in the country brought uboui by Peter 

t-hc Great; the chi-onicle^ and lives of the saints give place to ew*ays in 

tbu dtyle of the Sptctatvr and satires in imitation of Boileau. Kantemir, 

of whose satires Prof. Britckner givcsi an analysis, la tr«at«d with respect 

wm the first Russian author uf the new scho»>l ; as arubuasiidor at the 

ootirtt; of St James and Versailles, he hud pleutv of leisure to assimilate 

wi»tum literary forms. Rii.ssia now tbilowed tlie universal imitation of 

■ It Is euHoait tbat tbu booL waa a«a-tn tr&nslat<<d into EnglUh in 1864 by I^otii»] 
UforotliMiJ H[Uiiley]. It wonld bo inl>jivBtiu({ (o kuow wlietlior m'of fresh infonoktlnn 
Mil, tltnat ilut (IbI«, liiK'ii KittboMl eoDi.-«iDkiig lh« Dot! )>orltall ot Cervaut«i. n rvprol 
dtuaion o( wliieh [vtiuH lite frou^apltee lo UUa Tolumo. Ur Aahbee domH not tuuuliuu IL 



260 



Iteviem 



yi-eiK'h litBmture; Khcraskov, with his t«lious epics, reiuin<iiii^ us of 
the Henriade. But the fiosjtiatia and narfimtV Ibtind many readers, 
for ihi' KnsHi.ins. even the humbler classes, scorned to crjivR soirit? 
liticran- jpabuluni, and pcrliaps Kheroskov will be best remembered in 
futiin> tim<^«i by tht- intorcsting fact that thoso turgid productions were 
read to the youthful Turgiictiiev l>y otic of his mother's si;rfs. and 
inspired him with a fondness fur KiiHeiHit litumtun.'. Tho chnptcr on 
the age of C'ath<?riu(! dotw not spare the (■nmiptinns of hirr court, and 
tolls us of the bold fittL'iiipUi of Ra»lintchtrv and Novikov to ameliorate 
the condition of tho Hi-rfs and aid in the spread of ediination. Pnifosaor 
BrUckiiLT also Hpeakn fevnurably of Derxhavin, the chief court laureate? 
who ha<I a m-w poem for each of Catherine's victories. Hut who had also 
the courage to satiristo tho fa-vourite Potemtin. Thi* iit^dantfi and 
reactionaries, especially Shichkov, iU"L' di-iili with HCTerely oy I^i-ofessor 
Biilrknor, while the iinportanee of Bntiushkov, whose genius was 
(luenched at aci eiiily agt", is justly rt'cncniRfd, Zhnkovaki, who folhiwed 
the hitter, hds of lat*-' been somewhat deprtfciatud in Russia. His work 
is chiefly tnvutdution. but he wai; more tiian a translator. Many of bis 
versions are »ur|>risinf{ly good, and wo do not wonder that Professor 
Brtickner pi-aises his rendering of part of the Odyssetf. Zhukovski did 
a great deal to jwive the way for Pu.shkin by refining Russian veraifica- 
tion. A whoi^- chapter (the .-ioventh) is devoted to tiie latter, tho pride 
of the Rus.sians. Our author gives an admirable e-stimate of INushkin's 
exquisite work, Yecgeiiii Onie^in, and Pushkin's glorious lyrics are not 
forgotteu. Wl- are glad to have such a eulogj- of the Russian poet, 
whom Profi;s»or Brlickner finely calln 'dor /riuberer,' written in A 
languajfn aecessiblo to many western i-eaders. 

The novel came into R'uesia gradually. There aiv ' Volkshtlchor " 
pivtty early, certainly in the reign of Alexis, the fiitht-r of Pctor the 
Oreat, but the form was more or Ivsp created by the many novels 
■translated from French ami EughVh during the eighteenth century. 
The Russifins bccauie in. this way acquainted with the works of Fielding, 
iStaollett and Sterne. In the eurlier part of the nineteenth r«ntur^-, the 
novels of Scott blazed acro.«s Europe, and in Zagt>skin and Lazhei-hnikov 
— to say nothing of the worthtcsa BulgariD — the historical tale was 
ostablishod in Russia. It was, however, Nicholas Gogol (died lfiR2) 
who createtl the genuim? Russian mimince, and u whole chapter is very 
jiroperly devotud to him htuv. The culmination of the Russian novel is 
rejirhcfi in wliat Profe-ssor Brtickner distinguishes im the ' M<Mlem Time ' 
(]«5.^^ — 1905). To Turgueniev, m to Pushkin, he is generous in Kin 
praise, and a he|>ai«.te chapter is devoted to Tolstoi whom- religious 
views are (,p, 355) roughly dealt' with. [>ORloiu\-ski w clearly not oiie of 
our authors favourites and he is. we think, too Lontent to Bobotykin, 
who is a kind of O. P. R. James. 

This chapter is followed by an t'xcellent survey of the histoix of the 
drama in Rumsia. PiofeKsor Brlickner devotes, we are glail to see, 
consiilemblu atti-ntiou to thL- elrvi-r hmiryeois eonieiiies of Ostn'^-Bki 
which arv vuiy popular on the RuBsian stage. Tlie latter part of the 



Reviews 



261 



vork is occupied with the latest developments of novel ^^Titi]lg. in 
which th« scenes aif rakm ahnost entirely fnim the live* nf the 
proletai-iat. as iu tlit works of (Jurki. Chi;kov (recoutlv Jiiceaaed), 
Potapenko and Korolenko. Spaiw la also found ibr the ai£cu!4sion of 
the latest school of p<K>t», t\w UconientK. »uch a? Coiiatantiuc Bulinont, 
BriuM>v, and others. Wo wundt-i'. hi'WfvtT, ihiit Prrji'L-ssor Brlickner 
says nothing fthoiit Balnii>nl,s i^xc-rlk-nt tniiislntiun «{ Shi-lloy. Wo 
' alunild have likwl to stn? a tnill*T afcduiii of Hiissian liisUiriuitl writing, 
but preeumabty I'l-ofes-sur Briickner dws not considiir this to fall within 
the scope of his work. In conchision we niay say that in this hook we 
have the conscientious work of a thorough scholar, and we wish it all 
succewt. 

W. K. MOBFILI,. 



MIXOK NOTICES. 



The Syndics of the Cambridge University Pra-w are, we understand, 
arran^iii^ for thy publication of b Hiolory of EnRliah LiU'nilun_' from 
the ejirlifjst tirae.s to the end of the Victorian age, niortr or lavt on the 
tines of the Cambridge Modem History. The work is to be iu about 
twflvc i"ojal ncUvo voiuin&s, of approxiinat«ly 400 pages each, and will 
be edited by the Master of Peterhouse and Mr A. K. Waller. A histivrj* 
plaoned on so genvroiH u ^'nk- may de])end on a warm welcome front 
all vorkere in the field of English lileriilmv. We are glad to lejim 
thai the cxeellent hibliographiral appeiidircs of the Modern History will 
also be a feature of the new work. The n-iations of Engliah litemliire 
lo foreign literatures, a Hubject in which continental and Amcrictui 
research hati,during the pajtt few yeant, added ho much in our knowledge, 
will receive special attention. 



We have been asked to Hmw attention t« the 'Fattschrifl' which ts 
being prepared in honour of Proteswor Cainille ("habanoftu, who cete- 
bmted his sevt^nty-fifili birthday on (he 4th of .March. ProfesftOr 
K. VoUmBlkT of Dri»!den ha.'* placed a apeeini volume of Romatiuclw. 
FiiiTchunfjeti. at the disjiosal of those wn»> wish to contrilnito. The 
volume will apTiear in tho course iif the year under the title M^taitc/vs 
Chahuneau. ITjp apttpal for Mipjiort ia signed by more than forty 
l<-iLding RonmniHts. We regret, howevar, to mc that the list does not 
include a single l-^gli«h or American naino. 



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Boitriigo £ur Hrforscbuiiu dm indi>gi)i'iii.'uiiHi:liuii .\ICerttini.4. %. AiitL 

t. Toil. ClcHchiuhln iind MothtMic dftr lingiiixtiMib-biBUiruuliuii FonKthung. 

Ji^iia, Otwlejioble. K M. 

(6) LiteriUiitr. 

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ZL. 
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LT. J. E. and E. Latrau, Dictionary of the English and Frvncb 
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264 



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\ DV EirnSEMKiNT sex [,K. 

r>nH raatter :f 3 

h'liriiJi . 






Ai- .Vi^'i' TO 
> VY.U SaI.. TtL^i. 



CAMBRIDGE ENGLISH CLASSICS. 

A serin of faiihrul 

vnten. i. , ^- , , -,_ 

ROGfR ASCHAM: KhrI^Ii WtrK Tm^ph 



JOHN BUNYAN.- Li/f a>U Dmi/i ■' "f- '^r.Um. ^.^. 
EiHwd \^ tlic Rev. Dr lobn H 



•:W rtit^if : 



■■tody imtti' 



thr Prtu. 
jttaJrtHj. fifrc, il Ian, (hni. ii r^ rdlliuEi of Crabbr, and m ( 
CDngnuiUtc Dr Ward and itif CanSruttce UnUnsity Pfn* oo tliis 
uC rFjMVEJj n-hidi, «v kinf . <■« aIuU br wni>datnj hiA* we incr did 

Ediwd bj- A. ^. Wallm, M.A. 

SAMULL BUILER: Hiidfhm. ^^' 

Xo t>c followed hr TWn vutiimr*, (:■ 

pro;"-, 

hi ■ 
undaubintif llir tint < 

ABRAHAM GOV. i,^ . . .^-.... ^,..-.„v^Tfcr"ii""— P:n,i<,r,-nS 

Ode&, Davidm, VcncB written on uvenl oco- 

To be full 
dmrAuu 'i 
Wdor - 

A ihe fcUttmof « sfiTBWnrtli 

liTJn 111 ijir tdKilar. CowtcjT b : ' 



:<;;cnd pnuc. ud itj 



IU1I'"11 I JH" 



KlLil.-\. 



Sl«p9 u dkc Temple, DLl^i^ltcA >.: 



a!ii! 



itiJ ,1 "uiTtij, U'C\ii-'' ^ ■■■I'ri iliMs-vp-H isi Ufi- ■"".'ft d Idt- nitwl ri'i;i^'.:i-;i u! vt'-jt *t 

'Tftri i I, ForTM and pawn pTi 



MATTHEU . .... ... Poem*. 

I > >(.- ff^bwed by s volume . 
prmc, iadudrng-thc btthaio unpuhliihcii Ih 

Furtlftr v*h0fUf art lit f ■ 

CAMBRIDGE UNlVtl!^ 

I,' 



pwmv and 

■iiiiMit4 /r^m t'unt n hilt. 



^^ OONTKNTS. 

ARTICLES 

Some Old I-'reucb Poems oa the AiiticbmL. I. By L. E. 
Rastnkr 

Pwvental Wnnls in English. By W. W. Skbat . 

A Pamphlet b^ Bishop Berkeley (hil-hortu ondescnbedju 
B^- E. DOffDBK 

Thuinas MooTb et A. da Vtgny. 6j P. Baldenhferokk 

OontiA iu Relation lo thu Spurts and Piwdrmos of his A^ Q. 
By E. AiiMs I ■ 

giixningoft. 'Lry, By J. 0.1s '>s 

Shelley AUd M. 0. Levrii. By A. B. YoDva 

MISCELLANEOUS NOTF.S 

• Tr. . ■ ■ '• 

By P N - (. 

— :' >iiil)i 111 lji-^<it!ii. 11^ A. IL i'l. tiWACN. 

— *_- , I'an.' By O, SaiiAFFs 

BFVTEWS. 

J. D. Wilson, JoAn J^i/lv (\. FeoillkbatI— S. A. Brooke. 

unTen n> ■■■■'■' ,- ■ -,: _^j y. 

HoWrt,:t.:.n, / W W. 

Gubo) :; 

{ft Afn !i , . .- ,. . ... -i., . . ::,. '"'■• 



r<02 



325 



Whtipija o/Af. Prior, I. (Q. GBBaoBV SmiTj 
!W« i'fifUcal Work* «/ ir.'i/.(im /." ' 



■ I, /7ifl 

LaiupMffa 
-n Gtm\an 
of Oerman 



IttfTKal PovmM of Wi/Zuim Itl<ik-t 
&. Juh;.' 
(R A. ^ 
/.■i/flmturc ^H. 31 

l,if^.'i!i,rs - F, .',:... ., , ,_ 

R«' — E. Noyta. T/ie Caaenlinu and itM Storg (L. 

'■ ■ ' ' vra/ww 
» (H. 

Or. !\',i>mJ(i)f/ (ii. li^y ^ 

0/(. , ■ -J. — O. P&ria, /7 -i^i^ua 

(fc CViar^ui^c (R. Weeks; 



(H. Of.USVKkV—A. R (.'Alvert 



330 



lONOB NOTICES. 

E. Oswald, 2^ Uwmd of Fair //f/4ni,~M. Koch. 
Oeacftichti dfr deulschen Literatur. — F. D'Otidit., II Purpa- 
torio 



NEW PDBLICATlONa 



Volume I 



JUtY. 1906 



NlTMBEB 4 



SOME OLD FRENCH POEMS ON THE 
ANTICHRIST. 



I. 



The Version of Henri d'Awcl 

The present AQglo-Xormati poem on the Antichrist, «M)picii alMtut 
thr middle of the Slli"' centiir)- nnil written doubtlefis at n somewhat 
earlier ifuriod. is publishtiil hurc fur thv firat time iiccording to the MS, 
Old Royal 8. E. xvil (f «0 ct set/.) in the British Maseum. A eecond 
copy exists in the Ms. Fr. 24Sl)2 (f" 98d rf seej.) of the Biblioth^iie 
Nntiuoale in i'aris, uf which the opening i\nd coacluding line« (eomu 
thirty Verses in all) huvc hci;n published by Paul Meyer in an intereating' 
memoir' on thu Toanuscript In queslioii, in which are to be found ttomc 
valuAblc particulBni coDCbniing tho author of our poem. The name of 
this author was Henri d'Arci ; he was a templar of the establishment 
of Bmem or Bruer Temple in Lincoltiehirf and the writer of wveral 
wt.rlts in Anglo-Norman. In the epilogue to one of these works, the 
Vie cU Sainte Thais, Henri d'Arci, after metitioniog himself by name 
and bis calling, makeo specific refcrcace to hie two most important 
eompositionjt — the AntichrtJit and the Descent of Saint Paul to Uellh 

Ucnri d'Arci, frere del Leiri|ile .Stiuinuii, 
fiir iiiDUi' Deii vuft ai fet ixtA M-niiuu ; 
A vim ]u |)rB»eiii e as freres ile Itk maiiiiin. 
N« qiitir Iticr dw riw \\ Ixsnu votrniW nun. 
Men lire btrrai il'i!tii:nr<\ \tA.T \v vo«tr« congid^ 
K« Ic mielK del eKumjitmro at (ttiri>iimiK-6: 
>left nwjiuuiz des chApitlm m Jo Dtitrolawiji!, 
Cm en qiti je lie vi geroH d'utilit^. 
1^ HI oovto traDJtlnciun tim viont riea a ffi, 
P^<Mt mi oil uutnw cIiimiM h voalrv vclentA 
Mea ore, a omiA fuiz, voil iin iwi refMser. 
N«liimjcnt, itiux que J« laiwu del tut onlor, 

* liotkt tuT U wu. fmni^U 34663 tie la DMiatti/i^ut NalitraaU, totUenant dffci* 
amrraof tit^potii <>u ieritt tn Annhltm, Pari*, ISDS, 

■ IVilili-hed b/ tk« AUttur «( tbo pMMnt attiote in the /I<p« ■)<« Laitffuft Romans 
|l(kw« unit., 8^ UoL 1005^. 



M, L a. 



18 



Some Old French Poems on the AntichAst 

Eta la venue Antecrut veil UaiUr, 

U nointni r i^nniViion di^VM iy>gi»*r 

E 1«H gmnz iriftrvmle* qa'il fra voil i^mombiw, 

E u uiunra e OAin«nt trcslut voil conit«r; 

E del [jnrj de jui«e e del ^ud ju{(Ctiioi]t 

fHiTdi nut'une ^■hfise |)Mr Dvti eiiMtMUMit. 

\\\» dijTBi, \Mt k sra<e del aeiiit KHpirit, 

IJcji pciiicA <]}W Miiiit fol l'i>pontk* oil «ttf<>rt vit, 

OvK dun« lo scrmun ciitcDtirviucnt, 

Kv, ni bid) I'wcvtw^ f» nrrcz iimeiidotuoDt. 

Of the two nmnuacripUi containing Henri d'Arci'a composition on 
the Antichristt, that of the British Miiseam, as Paul Meyer has nlrcwly 
jHiinted out (op. cit. p. 26), presutitM a text pn^fvmble by far to that of 
X\ie Pnris ms. An iitdop«ndent cxaminatinn on my part has fiilly 
eonfinittid tliia view. At the same time the variants of the us. 
Fr. 2-iS(j2 arv not withmit. intnn'st, and they will W li^nnd fully 
coiimiuaieaU'd at the foot of chi; pigc, Locluding a passage of abuut 
thirty lines absent from the London Ms,, which, however, ih obviowily 
an iuterpotation of iht? acribe. With the inaurial at my disposal, and 
in new of the protnabU alweiice uf the oriffina] MR., it did not neem 
advisable to correct L (British MtiBeum Ms.) by meftn^ of P (ms. of the 
BihliothfHjiie Rationale), aithoti^ it is clear that in some isolated 
caaes this would bt' an advani.age. I leave the reader to make the 
I'xiJL'rimfnl for himsfll". 

As regards the linguistic pecnliaritieH of Heuri d'Arci'a poem, they 
are such as one woidd expect U* find in a work written on this f*ide 
of the Channirl about the middle of the Xlll"" century. The mwit 
im|iortanl are here appended: 

(a) f) cloHtjd is ixTL-aMionally rvndi;red by ii: vua 2, etc., cum 16, etc.. 
niM 48, etc., mult 98. etc., mmtre 220, as commonly in Norman and 
Anglo-Norman texta. 

(b) The Latin ending -ire of infinitives appears tta -tr. insCead. of 
etr («V) an in Fnmch : navm- 21, WS). aver 302, 

(c) Latin t is ctccasinnally represented by « instead of ttf : trt (erit) 
6, etc., afert fil. ben 162, l(t4. 171, etc. 

(d) a preceilcd by a palatal occasionally gives e instead of (V: 
pedU 31, etc., mtuigei' 2U). 

The smie peculiarity is seen tn the suflix -urttw: tmmerex 60, 111, 
jtrcnuiT i42, etc 

(e) The forms liu |locu») and /» (focus) which occur in numeruus 
other Anglo-Norman texttt, nhoiild be noted. 

(f) Finully nacial '> and u are written van and aun, at< ollen in 
Aiiglo-Noi-man : pei'dicioun 51, devaunt 116, creaunat 124., 205, etc 



L. £. Kahtner 



271 



The versification is veiy rtefective, even for a cnm]K)(iiti<>n written 
ill Bnglatid ; half, or very aearly half, of the vt'raes ure cither too long 
or too short according to the Rxigences of French ver!4e. A ft-w verses, 
it in true, may be regarded as corrL*ct. looked at in tlie light of Auglo- 
Nomian metric, which could leave out of account both the feminine e 
and the pnitonic e, but vveu admitting this poMiubility, quite a third 
of the verses arc halting. It is not my intention to enter here into 
the different theorit's that have btiL-n advanced in order to explain 
the striking irregularities of Anglo-Norman metric; at the aame time 
present rcsultit an-, I think, ample juHlifieatinn for stating that the 
view held by Suchier and other German scholars and cuuibatud by 
Paul MuyiT and Viiiing, nocurding to which the syllabic irregularity in 
Certain Anglo-Norman poets can be explained by the influence of the 
Oermanir jiroHtwlic sy.sl^'m, in no lunger aihni^ible. In any case it is 
clear that the majority of Anglo-Norman poets, an time went on, forgot 
the rules of i:nntini:ntal French pnwmly: they Hid not know what. Co 
count and what not to count in wtiiuutiug the number of syllables in 
» French verse, and seem to have been satisfied with the ring, su to 
!i]K»k, nf the rhyme at the end of each ver«e, pnivided that, each vetiw 
hiui approximately the game length on paper. In conctmsiou it should 
be mention<Ki that the [Hiem mi the Antichrist of Fienri d'Arci is a 
ti'auHlation, with very few variations, of the Libetlus de AutichriJfta^ of 
the Abbot A<i«)n* of Mdntier-en-lX-r. which the latter had undertaken 
at the ixx|ue«t of Qerberge, wile of Louis d'Outrumer. 



Id anmmence un e^ioi/re, 
D« Antecriet la memtjipre. 

Si d© Antecrist veus oyr la meraoiro, [F. 80. col. iv] 

Ici vm dirai hi verity de TestcyTO. 

Oyez done premoremeut pur quels aeheaon 

Cist tmitres avem Anticrist a non. 

■ Tbn Lnlin l«xt (nlwiat 360 Warm) of tlis LHuUvt d» AntttlmtUi iriU bt fonad in 
Mign*, Patroloftm I./itina. 1. in. col. I21I8. 

* InWMitiiie drtnik on Adton will ho round id H. Omonil'o article in ih« KMimlii^ur 
de ff'.r.otf iifi Charlfi. t. tni. pp. I'lT-ifiO: ('•iriiJaj/iir Hr In Jlibtii<tMgiir ite I' Abh/ AiUon 
itr Nimtlrr-rn'IttT. ttco olio Balamn, JIUI. l-'nir. I'ar., i. 5fll-8: ''aluitrl, Bihiiiilhiqvt 
I.orraitit (1751). 2'WJ ; C«*». Seriptorr* kcfUtiiutici (liVH. il. 107: HUtnire Lbl/rair* 
.UUm Irawt {\tVi). VI. 171-931 L*1oi\k. HihtiumtMt <U la franct flTftS). i. lOOOH. WW*. 
iSllB. laiTB, laiWO; MiRDe. I'^ir/ihfiiA /.iiNmi, t. oxisvn 5»7, t. a. ool. ISStf; OilJiu. 
StpfUmtntum d* Seriptoribfu KecUtiailirit. f, 30H, 

18-3 



272 Some Old French Poems on the Antichrist 



5 Pot ce, sacliez, AntdcriHt appell^ sera 

Kti eQcontro Jhcsu Criat ert o encontrc guerra. 

Jliesu vim humbles, e ciat orgoillous vundrs: 

Jhueu viat humbles cnhnticicr, e cesti les abeeeeia; 

Jhesu vinb por pccheours tm tcirc jaHtiiter, 
10 E coflty vendra encontre sen feloiis enhauocr. 

La ley dc levaagelio Aotccriiit dcHtniivra, 

E a hoDorcr le deable par tot le monde oomandem. 

Oez ea quel liu Anlccrist (teiu ni, 

K comcnt il nestera e de quele lign6. 
16 E ui' (juidtiz pae que dc mou sen le vus die, 

Mes si cum je I'ay vetl e o'ie, 

Ed scinte oecnpture que de tven n^ ment 

Nous dit tot iwen avenetnent. 

Antccrist sem (^ngcDdr6 e n6 
20 DbB gena eu BabiUiint! ta cit^, 

C« cat a savi-r dt-l ligiM^ Dan. 

Rnr Jacob diat, paaa^ a meint an, 

Ko Dan malveis coli>vre un la veie sera, 

E si cum La lei^ardn la voie gueitera. 
26 Icesto prophecie pareraplie Hera 

Dp AiiUierist que de la ligtifl Dan ncHtCTB. 

Tuuz iccus qu9 a my couvortir ue purrs 

Put sa grant malice les devoniu 

6 Ke (iiiriiRtre criHt ert oacuntrn criiit vivoni 7 Jhwu viiit liutablaa] 

Ke orist vlat umble S Criat viiit In liometi n«hAiioer ot cU lea lUianeni 

IZ Irutead o/ tkit one ewm, ir« rwuf fAe /(Aiowing tkrve in ch« Pari* ms.: 

SiiltivciiiiMit doB diablos a,\ miind rmicttTii 
Rii ]irii|in: i;lorie en totoa nirLiiicrr.t 1)111-^ 
Deii DiniiitHitcut do tiix ckiii«r bc fra 

16 — £(l TAtae pfrait art' umpHjUd tu folio k* in ikf Parte MS.: 

K« ii« Vni voulrovi pui ue quidiu! mi« 
Mtwt lt» livre* mult i-DtvutNvtuent i-orcAi 
K si gum jol trovai cscric ail vus dimu 
E m vus nc djrrai vc miccs poi nc grant 
Fora oc diuit 111114 Avc[ir] lo livre « gajoat 
Si cuiu nun voluEi piustrcr par miutorih! 
Anucrint del puojilti an Kiiia iert eiigendnJ 

21 Et oe fel a Htv«>r d« I& lign^ dui ££ Kivr JAoob dUt] Kc JAAob 

j)rvpbut« dint SB Don Mrra fot oolovra et «n U vcie Mm 27—8 A^J 

jiUtftd bg tA* /oll^vnfi^ iMrtet in the Parii us.: 

R «i ciuD le iti,T[H»it, vl SBiitu demure 
E mull <i« In veie ilo litcii dcitturunni 
E par le vettJm de hk niitltce iwiru 
TuK icela qu'il a soi cotivcrtir iie jiom 



L. K. Kastnkr 



273 



De pere e de mere noatera ciiin autre gont, 

30 Necot. cum mouz tjuidcnt, de virge soulemeiit. 
En pech^ sera n^, en pech^ eiigendr^. 
En pech<5 conct^U, icel mftleUrrf. 
Un Ciiii (le Ba femme es]Km8G eiigi«micra 
Antticrist que tot le mondc devorra. 

8S Me'iiiimt le houre k'il ccmceU sera 

Ly deable el ventre sa iiieiv otiterra, 
E pus en \a sue gimlu tot diti uiob seiu, 
Ke lie ly n« de »a lucfw incs ne depnitim; 
E HI cum ly Hoint eopirit vint en Murle 

40 Kant ele cuneeut, si ne departi mie, 
Mes dp la tteinto vortiie !« cnumbra, 
E de la diviui^ Oi^auu lu e^luiuinEi, 
Autremi li nin.lft' «n Antecriitt. deftcendera, 
E li e sa mere jiartot unvjromiera. 

45 Fyx de perdicion nppell^ sera. 

Ore oiez en quel liu Aiilecmt jteatyra: 
Si ciim nostre sauveour douz Jhesa Criiit 
En Beletfiii ou iJ voleit neatre por nus eslit 
Ausi a porveU li deable (a) soen metre: 

50 Ce HKt la citf^ de Rabiloine ou il deiAt nestre, 
B eel liu afert bien al fiz de peFdicioun. 
Kitr Biibiloine dist aTitnHant Rum cuuliuuon. 
Ea deU8 citez sera oorri e conversera.: 
Ce eat en Corozaiii e en BethHaida, 

55 Por ce le8 iimtdit nostre sire Iheau l^sl 
En un liu dc-l eviuigillc on il diat: 



[F. 81. col. i] 



S2 Bn }n<cbi6 coDoeu at en pechi^ iert n^ 33—4 Lacking in th* Pari* mm. 
41 Rt i)r U m*i« ninte rertu la nmbru 4i Et de diviDitS tu,t« I'wvimiia 

43—4 Thnte tijm art ucpuntfwt n* fvllnuv in th* farit iis.: 

Qu'el« del M-int lugtL-nL vni rKiiieiil: •.-(nic^iiHt 
E ce que do li iietntreit lievjn el Hoiut fiwt 
laiii If> (liatilL> oa )a mora aiitetrnftt dmniiidni 
E Ak 1a Koe vcrtu ttito Ib cuiptira 
K h] U cariRiiiera dednu «t uofoni 
E KUii hAltitacIo sum fet en min txtr* 
Pur UK qii'il mtrm ]iA.r nan enticement CMnveii 
Koie de) tut en tnt faluii a ninl e iwrdii 

48 A/tfr thU rtrtt the foltotein<j itro art intertfd in thi\ Ptirii *».: 

Ku ue« <{iii nel voldrunt cvDsantir JuMtriiini 
K il iiioinm n U pnrfin ilMtruiC twni 

47 Bethleeui n il voleit por nUH neUtrc ealit 49 Ausi li nd pon-eu liu li 

diotile flUD iiMwtre 39 Por l« leu ituddit] por ce Ics bleamit 



274 Soirie Old French PMtna on the Aniiefn'ist 



Maldit Hcit Bt-'UiKaydn, tiutldeit ncit Connsain, 

Kat en 1118 converaera Ic veasel de venilD ! 

Ic'isl AnU-crist Hvum imc wj devinoiirs c 8orci:nr» 
60 E enchanteoiirm ile diverse nianeres, • 

Ke par Ic cspircniitnt dol tieablv Vcnscignvront [Col. ii] 

E de tot faii8(?t^ Ten aprenderaut ; 

£ ly cupirit del malfe ly gnivrnen* 

E touz jours eaniE departir oue ]y sen. 
65 E en api'ct) duakcs un Icrusaktn vciidru 

E ftoen 86 OD le temple doiniiii mettm; 

E te fura circuDcire soIud la voiliv ky; 

E dim a les gc-ns k'il est tour dieu e lour rei, 

E por lour salvacion est vtnu c* lour dira ; 
70 Or e argent e richcaeeB asscz lour dona. 

Lore convertira les princes © les reiu, 

E par e«8 ly poples, *i lour dorra see leys; 

E touz icGUs k'yl ne porra a sci convertir 

Dovaot ly dc malemort les fom morir. 
75 Done coiiuuaridtTa chi'scun erestien Dieu reneer, 

Ou par fu ou par fcr les Ihrn totiz oscir, 

Oti par serpens on par bcottis detraire, 

Cil que np voldront en ly croire. 

L^B Hub ou Iht'su CrUl. nustrt* Bire ala 
80 Ices meimns AnU'critit environnem; 

E ce que Ihcsu Crist fist n boh pover ly dcfra, 

Kar dc malice o de felonnif plein sera. 

E eii apiubi muKHagvn) ptfcheuurs aKsuinblom; 

Pot tot le imivereo raonde les enveitira^ 
85 Sa predicaliuii L4^>ndra vn le oribiit. 

£ del bu lin le itoi'z o desko en le Occident; 

E sa poegte et sa mtsitrJu unsi^ment 

E sa M^igHOuriy ftra gcui- tote gt-nt. 

Dodo fei-a il miracles (^ inerwille-s mmez: 
90 K(! les utopa iront, u veimriit Il'k avuj^l^, 

57 "Wai tei Iwtbaalda wiu tci coroz&Jm i>9 Devinoun c aoruerosl eoroonercti 

60 E divinoiiTB s cbantaiTs «tc. G2 E de toto fausot^ le ejiaortTitionuit 

63 £ Im rnitliguvs ^N>m tut Ain lo wciTont $4 B tu2 jiint aani doporti 

Mscoin|Mi^niin8«oront 66 IC mici uit^ti acto. 67 Duuo «e fta circtuioire 

et ilirn AM jiinli' CK (Jn'il est ui«HHiiui <^iii o«t prcuia a dfi TO E il lc« 

aeMinUlttJrn tue cc lur prorncttriL 74 De riaJg m«it U» frk morir 7& Diiqc 

com»ndnt us orcstion-i deu a t«iic*r 7C 0»cir] tnor 78 Cds qni eoni-ertir 

nv ««ldrant »on lui uroirc 81 A nan [mvot le dwfra] ic« tLohn 89 C 

inerveiUflM amcxj e ta6rv«illes 90 hoA Av\^ia] 1m nvocglM 



L. E. Kastner 



275 



[Col. iii] 



B In MRUs ommt, e ty mus averottt sanct^; 

£ t08b fcm Ic solail tomer cu osciirKS : 

E [a [mil; en eaiic soiKtuiiieinenl torneni; 

E fn ilel ciel hiiidiisfiut^nt vcnir fera. 
95 £ les arbres fern il soudciDement loillidr; 

£ pus kant il vi-mdm Im fm U<»r. tmscchier; 

La tner comiuov(;ra par !K>u cuuiiuanii(.*meat, 

E derccher Tapeisera mult soudeineuK^iit ; 

II furw lv» cvc's chungi-'r lour colours, 
100 £ totes autrf^ natures tumera eQ rebours; 

Le cir par vent c ptu- ptuio commovcra, 

E autrcs miracles e mermliea fern. 

Touz les niiraclo^ que Ihetiu fiat Anti^crint fern, 

Kors 8r>ul taut que nul mort ne resiiscitent. 
105 lies le« niimcle» que il fcra feus Heront, 

E m* mtwcTf^anz i- as pHcheotirs verni sonmt, 

Tanz (ii.is tiR'rveilk-Jt AiiU^-orUt fera 

Ke lea ««lyjE Dieu eu ineDcreoiice inettra. 

Si dinmt ontrf t'us: ce [pst] nostre 8auvc(ou)r 
110 Ke es vGllii en leire por le tuuild juger. 

Ed trcis tnanert>»i iomara a aei la gent: 

Par dons, par mirnrU's, par jxioiir Av. torment. 

Ceutt que par ponur wnverlir iie porta 

Par tnimuliw e mt>rveillpi* lea dewvera, 
115 E ceus que U rie [lurra p.ar mimcleH tomer 

II lea fera dovaTint 1}' tiier. 

Koillier] Qotii IM ICtiMwIiittr] Hcctur tKI U>!t Awe* fim ril oiiotni 

_^jr lur cura lOI E p*r j>lme cl e jiar tluviiM *•. lOK E iiiervcille* 

k) a forvvriiw fern ItO-O /Amt txrAu «« tacking in tht Pari* us. 

106 Mas AS niGflcrMUiz por vermis ttjiArunt 107 Kat quaut ctAn luirnclM « 

DFrwilm v«rrutit 108 Si ilotamnl ontrauH ces 4|ui ^rtil suiit KiO Siivor 

tt imii xi oe «oit icnl iiirTimw crict III) Qua In wkitica K^riptiiro n.1 iiiiind 

*euir |>njuiit II li — IB Thit jxiunge ti ninjAi^^ lu (uttntrt in tin Piu-i* tii-.: 

Par diiuB (xir miraoleft p»r ]f>»T de toiimiL-iit 

iuir miilt grant mheises e lunit grant hAbundoiioe 

Fmmrttm h oo]h qii'il turiiem n tui cnanro 

I'liin dutTH »r « iii^int « gn.nt rui«mi 

A cfik qui ixinvcrtirfirliint pnr ha [trwottaimtl 

lau cani-#i-tira |)luiuirii •' d<ic«v«rM 

Par k« richeird>* e k" dinu> qii'il lur Horn 

K ee\a qo'il tiv {xinu iv>rruiit[irp [uir I'lirgcut 

Si(lj Iom siinniiiitcm |iar jiixir dp tnniinnt 

K ix>U "iiiil |i«r iiviMr <l*tciiir no \n/m 

S'e juir ^)iir )Mt ruiT(u;lu» li-n &varit 

G ccU 'luil ti« |H)rr« juir mirnckn turucr 

St{I] ft* devartt t<u oru«lii>out luer 



276 



Some Oid Fttnch Poems o» Ute AnticJu-igt 



Ilelv ]MjrM«utioiin idonken sera 

Tete iit> fu piu que \y 8it>cle comm^^nvA- 

Kar fit oiim niwtre seignor tu |irt>nuneia: 
120 Ly fiz la yeie, e \y pere le fix, imi'nt, 

E \y fmre livnm n La mort noii Trerf, 

More la fillo, a In filto sa mpiv. 

K*r .lovenl av(?n(lra ijut* \y fiz rem-ni [Col, iv] 

K ly pere vn sa Iwne crpaiinci' n^nieinJeirH, 
125 E soveiit reUHirouL pere e mere, 

B la fillv reoeifrra sanz la moi'e. 

E uwi reneieront entre pus changaWemcnt 

Humiite^ ei (amtavB par tot le taoad commuuetULmt. 

Kant c»« que hi fiiitement renei^ aen>tit 
130 W-rout que lc» autrus wneier nv vodvnmi. 

Si les tivt>i-ont a ta mort par Iniir traj^n, 

Allwi, cum chi-itjve e Holonmst' [KTSL-cucion 1 

Done reneieront Ihesti Crist lour aeignor, 

Putir \e» iuiracli^» que il fi'ra e vcmint. f> jmr la [xtur 
135 Kar Antecrist. e sea tniniatrea enseraent. 

Par tot le mond destnueront cnaitiein' gent 

Hrs. hi cttm iifwtre Hire en \a vvangillt* dist, 

Ke ae tieut deske a la tin, cil ert sauf e ealii. 

Lj terw Ant«criat dumi treijt anz e dviui, 
140 Kar la seint eecriptoure demustre tot iaai. 

Soint cglisc karuutc moytt defulvront 

Antecriflt e ses miniatres que ly ensuiront 

Tant dura la fjcntL-cutiou dv malvuis AntecnBt, 

Si cum seint eglise nus bemolne e dit. 
l-IS Done abregL-ra Dieii lea jnnrn pour \e» wilyK, 

Ke il De t»eicDt par Ic malf^ tous periz. 

Si il regnat nn domi an phiM a%'ant, 

Homme n« fommc ne aemit »auf vivant. 

Si VI18 pleet aaver kant Antecn.»l vendra 
150 Oex quci Sfitit Pol de sa venut- jMvrlu: 

Ne vendra pa8, ce dit, ly tiz de perdicton, 

Decoque sL-it fut prtmuM diucunsion. 

Hi £ 1a Olio ranoora aouvont m mmv 120 1^ auu\-ciit n>uc«raui otidai 

pen e niero 127~t* Tftc*» lw> tii»«i are IoMh^ IV) Aftur tAtt rmv 

(Ao /vliomng oanirt : 

liwi mHMriiiit tiix cvnouiblfuiotit 

140 Oil pcrireietit nutrniiiniit 1«« {NtrftK I-IT — H AunKnjr ta (At fori* Ma, 

Hfl Si I'lis |>lMt uver] xi vuk deiUKixior. 




L. E. Kastxkr 



277 



C« ««t ft dire, doceqae touz les regnes del mond 

Seient depiirti dc R«m«, que cneiin)< y »oot, [F. 82. ooL i] 
155 Kar tnt l(r inond fu jiidiij Hiibjcl n K«ii]ie 

E treu ly doiia chi>HCiin an [inr costume. 

^[os, Binz (|iic viL^Do ly tiz nl cnemi. 

Tot le mond de wm empire ert depart] ; 

Mi?8 oel tone n'vst vciiu uuc-ore mie, 
160 Ne leB n-giieK di- Romp dnimrtie. 

Kant choscun empire dtstrutle Bcm, 

LVmpirw de Romp ben ne govcmem. 

Tarn mm les Rointfios en vie s«n>nt; 

L'empirn u lour jHiver ben govemeront; 
165 Ln digneW de Rome pan tot aa perira. 

Ke eu C«H n;iit lueimt-n la dignet^ e«tera. 

Aucuns de dos mestres dicui qu'al dereiiui tetis 

St-m UD ri'i dt-a Fmn(,'oiH wigeH «t dir graiw saiw 

Kc tendra entereiufDl Teinpirc d^s Ruinuias. 
170 E vrt de tot re-ia de Romr ly derreinA; 

E kant il avera le regne ben govern*, 

Longt-raent en pes p en mult debonourt^. 

A la &! cil rei» en Ei'miwleni ira. 

E deake al moat de Calvarie douc vendra. 
175 E preiidni la comnne de nan chef, n la ntettro 

Sor la CToyi! que ik>c utHcht- verra; 

Pus toradra vnrs le del en hant ses meins. 

E lyvum u D'vju \v n-gnv des Rtmieinu. 

Issi finem I'empire et tote la poest^ 
180 De Rotner u do tote la crt-stient^. 

E eti apres. ei cmn Seint Col ly apiostle dib, 

Saiiz mile deiuonuiw vi-ndra Autticriat. 

Nekedent mea que it ne riegne dcapurvtiement, 

E dvcetvu e luettc L*n crrour tote guat [Col. U] 



lAe Chewiuii] ch«m 157 Mw nitu que .-M-it mv«le dl fix al oaeoni 

IflO— I: 

Car nwls que liunt eiii|iini Mit deoLruite en [Mjiio 
Neqaedent [xirtaDl cuiu loa rein fVnuc«i9 diimiiit 
L'empira d« rucae teair itcveruiit 

168 l.'cin|>iiv dM Roraeinn) I'mnpiro runiAin \~2 R en inult doboiiourt^] 

e en ^Mt l>otictirt^ 173 At* flii] a U parfiii 174 E tms qo*«l mimt 

vhktit [M-> de culviunc vciitlnt ilH Sur Ic chef a lit oiviK i^uo cii uol lui 

wrra 17^ E tirera ntir Ic n-];n« h dou dva ruinniim 



278 Some Old French Poemn on tJte Antichinst 

185 Deus prophctcs vcadront devant aocn Dcsscment, 

Pour dire e pour nuncier soen adreneraent: 

Ce est Ecok c Eiye que devaut ly vcnderont, 

E treis anz e dcml vu Iv iit«cle precbcront, 

E Jes clys Dieu on lour fey oonfenncront ; 
190 E por eu8 enseigner e gamir vcndroat. 

Totes les villes que en le sitjcle seront 

loes dcu« prophi-tc9 a Dieu oonvprtiront. 

E douc Bcra acompli ft eel houre 

Ce que nus trovon ^n la aeinte escripture, 
19G Si !<■ tiumbre deB gt^iiK fust autretuut 

Cum gTOVfle ill! l» nicr. saul" *>rt le rpinenant. 

Pus kftut il avyront lour prtilicattouu acompli. 

Cum j(j vux ai Hit par trois anz t; ilemi, 

Apix>s C(.' tanttoBt Antecrist veadra, 
200 E dp primes vers \cs prophoti^s guerre oommenceta, 

E iKUt ilummeiit tu? UtniHra vent eus 

K« il Ics oflcire Ii« prophet** ambtdemt ; 

E kant il Um avem o^ia (inscmilijcnient 

Les autruu fttus Dieu gtiemt duri^moDt.; 
205 E ceus k'it ne pourru turner a sa croaunce 

I) Ips Ti'ra tuor tuiiiz iiuU< iletnoratiw. 

'IVuftouz qui' Mil ly fcnut'iiienl croroiint 

SigiK' (I(! sa ci'eauncfc en limr fnml avuroat. 

Ore avez oy ou Aiitcerist iiestt-ra 
210 E k« uiiracluM <>1 uiuud qui' il funi. ' 

Ore oici: en quot iiu ci! nialff^ iiiorm. 

E comeut u bd quete guiMe il finera: 

Puis kil avera treis anz e d^mi regn^ 

E le popli? Dieu ])ar divers lormeiiz ]>vn^, [Cot. iiij 

215 A la fin veudra sor ly grant [Jt'iiie 

E Dieu ly oncira de sa grace denieint-. 

Seint eacriptoure dil qu*? AuU'crisi uiorra 

En eel Iiu ou Ihesu en le del monta. 



169 E teo oljra Dieu] e let» foelx lieii ISI Tux leo uelz qui tluuquw cd 

oel tans aorruiit 19(1 Cum eat K'r^re de luer nauf ennit li miiaaaiit 199 A\in» 
oe tantwrt] npr(» ici chaut paa iOO V. do pHiuoa rcn cue were L-oauiioTunt 

201 Sc coruccm iOi Lub mitres (mir. ilcu wiToro errnumtnil SOT B 

tu2 icels qui en liii dune ircirc vuldruiit 211 ('iL iiuilfii luorm] oil cnnatni 

niiirra 21S E rtinionl. c oit t)ii(^1 liii il liii(rii)t!ra Slfi (Jmiit jeltie] 

\-eiigi>uc« c iieiiie 316 ilmvK deiitfiiiie] vi^ii duuieiiie 217 II itimt que 

HUH jwreillun Mxin oeni 



L. E. Kastser 



279 



Kiiut Antecrist hi fetemeol e«m ocis 
220 Ne vemlni mie erraiitnent li jor de juU, 

Mfa kiLnuitt: jours dc i'ere pL-iiHni;*.' 

Dorra Dieiis a ses eitlyx sanz tlotance; 

E ce» kanu3te jdura lour jR-imuc*.- feroat 

Les clyz Dieu que par Antecrist deceit acroDt; 
225 E knnt la pennnct- »i?ra linic. 

Cum Jurwuiiu uus rnustrt en sa pmphecie. 

Niil ne ert en rie que done dire snvera 

Kaiit It! jour dc juiMC apres ce vt-adra, 

Fors s()u\ Dieu que totes chosea fourma. 
230 Kmil Son pleinir ert. Ic sieclc jugcm. 

Ore oez cum Dieu vendm nl jiigenient, 

E conitnt apiNLfotit (IcvBufc 1^' tote gi-iit 

Ly jour de juise, ai cum ly livre teHtiioinne; 

]I vendrn Ir jour de I'awilu- par tin dimainu. 
235 E le jour devaul tote geut luorront, 

Hommua e feiamcn quB vo vie scront, 

E pus en ausi poy de houre releveront ; 

Cuuj oyl Hc cloul V ovrt; al juguiucnt vendiout. 

Lore viiudtu ul jugemetit nostrt; dous syre, 
240 One grant disdeinance o corrouz e o ire; 

E si riv vi;ndra tiw miul bI jugcmcnt. 

Cum il vint »oitl a 8oeii preiner aveigi]«meal, 

Mes outi gnuit gloriv vcndra i: o grant iicigtioric-, 

K les nefe ordres des aagles en aa compaigDie, [Ci)l. iv] 
245 Putnarke«, pruphetcH, aposlliM, oue li wudrout, 

£ touK lc8 autres eeins qui en le ciel seront, 

Martirs. virges, e ly ci'iifcseour; 

E lus angles irout dwant no3tn* seignour, 

Si portoroni It eigne de la croyz avant, 
250 Si cum Jen'miu nun dit qnv eni nostre ganuit. 

Pun kant il ert oue son grant oat aval^. 

Que il ert venu (c)«<I liu que Mt ap|)elle Estcii^, 

821 E^DADCe] pcnitouco iS3 £ oii qiuknuito ion frunt jMiiitenoe tits 

324 I'O* «LU qui Mrriuil [mr autucnnl miduiai ii!t Puis qtutiit il ■vvruht la 

l>vtiiL«i)oe litij« iid Vum U'uiti!! uua uiiifira ulv. iil Nut ii'iort mw 

ciifl iiui uiiqu«a tUra sauxa Hit t'on Mil dniiipuodoii oU. 335 E l« 

aonudi dcvaat etc S38 T/iU /mr i* Uuiimj iW Nwtro douf nyrc] 

uttrfro (Lira 34A E )» iMlrituxhw un^cnibk i>d Ini vaiiilrutit 248 £ Iw 

pro y batoi qui tlv Juu parkrvut cu ocnt murnJ i\~ E li a|>u«tlu uartlr rirgna 
et oaaXttaxit SXai l.'uiii twiiit jcn>iiue dit truvuiu a jcuaront SSS Qu'il 

ert Ytaw el ciel ([u'll claiiuout oslello 



280 Some Old French Poems on the Antichrist 

Lequel est par entre la luiie e la firmameDt, 

Done charra le fii sor la terre espessement ; 
255 Tote la terre ardera que est desouz le ciel, 

Si ke ly mont e ly val seront ouel; 

La flamme del feu tant haut montera 

Cum I'eve de la terre parfond sera. 

Dont ert ly jour mult cruel e plein de hydour, 
260 Kant les seinz e tea angles trembleront de poour ; 

Done Sonera Sein Michel sa busine dreina, 

Ke de touz les angles est primes e sovereins ; 

Les autres angles chescun sa busine businera, 

E Seint Michel la derreine busine sonera. 
265 E al son de cele busine releveront 

Les hommes e les femmes que mort seront ; 

Les cors e les almes touz se assembleront 

En un poy de houre de mort releveront ; 

E touz les esliz seront ouelement granz 
270 E de une belt^ e d'eage de trente anz. 

L'eage des dampnez e de lour estature 

Ne parole reen la seint escriptoure. 

Lors seront touz les eslyz en liu ravi 

On uostre sires sera e ses angles oue ly ; [F. 83, col. i] 
275 E les cheitife dampnez sor la terre esteront, 

Enmi la flamme, mes pas ne arderont, 

Mes le fu d'enfer les ardera, je vus affi, 

Solon ce ke chescun avera deservi. 

Done seront departi li malveis de les esliz, 
280 Si cum hommes depart chevres de berbiz. 

Les eslyz mettra Dieus a sa destre, 

E les malveis mettra a sa aenestre ; 

Done se tomera Dieus a sa destre partie, 

E dira a la beoeite compaignie: 
286 Venez avant, les benoUrez fiz mon pere, venez ! 

Le regne del ciel que vus attent recevez ' 

2fi4 DuDU cbarra fu aur terre cum pluie espessement 255 E dune 

antra la terre qui est sua ciel 257 La flambe del fu ttuit halt en I'eir montra 

258 Cum I'ewe del diluvie iiocjadia mouta 263 Car ais angles chascuD le 

auen businara 268 £ en ei pot d'ure de mort cum oil clot releverunt 

273 En liu ravi] en I'eir ravi 276 Mes pas ne arderont] mes pas iluec nen 

arderunt 277 Je vus affi] sacez de fi 279 Li malveis de lett eeliz] lea 

maus et les esliz 260 Si cum I'em departe cheverels de berbiz 288 E 

trestuz les male a senestre 285 Venez avant les beneitz etc. 



L. E, Kastnkk 



2B1 



Kar je avoie Teim e seif e van int.- saillaMtos, 

E eovent [fui] hiik v pnvre e viis me eidastea; 

Kant je fiii sana oustt'l vus me lierbL-t^mtU-K ; 

Kant jc I'Mtoif en prison vtis mc viaitasles. 

Done respondfront les ealiz e diront ssnz restpit: 

Sirt. kant wis vtnmTH t^^l cum vus avfz tlit ? 

E il fiira: kant vhh ft-istes hen a im de mes povrc «\it. 

Si Ic f(;i»tiCK a mov. ce 9iiclie:£. bul doiiz fiz. 
295 E en aprea a son acuuntrc tornera, 

E uif chfitifs dntnptieK trousemcnt dira: 

Dcspartez <te tciui. nmlelirez, &n liii pardurable 

Ka en enfer est appfireill^ at detvblu ! 

Kar je avoie fciin u seif i? fu en gmnt grevance 
300 E onke« par vus ue avoit- nul iilk;gimc«. 

E douc diront iceus: kant tqs veimes ai povrvment 

Aver meeaiee^ e dg vus aidamcs ncnt ? 

E Diva dira: kant a miens ne Teitea revn 

Done ne feiatex piu) a moy, ce (snches ben. [Ool. ii] 

306 Lorn iront ceue en pardiinible peine, 

E lea edyx, en In joie snv«rfine. 

Jheau Crist, Dieii oniiiipotuut, 

Ke ciel e terre fiat de neent. 

Nous ameine a cclc <:lartf4^ 
310 Ou reeD u'y a de obscurt^ I Am^u. 

L. E. KAaTX£R. 



S8T Kar je avd»] car jo <A 288 Em fenn «t on chArtro fill ct tiu tua 

rawunliuiUw 38B Quant Jo fbi taaz imU^\ vim inc nwiuilislMi "iiiO Siivnnt 

Tiii Minx ilnui et viiK tnu VMtiatat S»:i ¥. il dirra qiioiit ben feiotcN & iii«i 

|M!ti]t £JMt 1 niiiHaineiit dlro.] kL liiibeuiuiit dirra Sd7 DviiarlaK de in«t 

aiaU'it itl fu {Mnlurftble 298 Cur jo oi faim « net em ferm en chartre fui 

AMI E wijx »ntel me!) uiiL- nie ite viu nea ui 301 Ihuia dirnirit ijuiiiil viw 

i-eiiuaiai fiiit«tn<>iit 306 K Iwf draiturels en Is joio suveniiuu 30'! — 10 Th«M 

Mr«w ur" Utdiii'j ill- /A« /'aril «k, wAt«A, hoarim; eontmna the fnUoian^ condudiit^ 
pOMiajf, abtVKtjrtim tht tendon mk.: 

Atunt ontw vu> )<ar£iu Ic jugciuent 
G iiostrv «iro moiituro lut <-til enauuiQiit 
Piiin crrt cent node dclitublv iit da grunt bolU 
Qiijtnl jirir fii l-uui dU detuut crt <»uiirK<& 
^ ii>H|tiMli!iit iticH qu'il aoit bcl ct dditouls 
Ne liiiiiiidra mes duI homo o tiid ilittLle 
Dunn rcB^ik-udiruikt lv» naivx ciini «>1eil el ciel 
N'equedont iiu ncmiiit [)ivi tiix It ttalnx vd 
Cur iiiir c!»U!ilti« a] i:id plu™ qu'a(ii)trt; c«t clew 
E let iwin/ nerrunt en luciuic In muhera 



282 Some Old French Poems on the Antichrist 

Li soleil resplendirft aures le jugemeat 
Set fciz plus qu'il ue fet ore plus clerement 
E trestuz eels qui serrunt bona paxfitemeDt 
Besplendirunt cum li soleil fra aunc certeinement 
Les autres qui de si srant nierite ne semint 
Sulunc leur deoerte idunc resplendirunt 
Hft deus cum par a ci ^nt di^it^ 
Qu'home deit estre al ciel en ai grant cltu-t^ 
Meint horn dit si fusse dedeuz lus de paradis 
Je avereie joie e clart^ aasez tuz dis 
II dit vers mes ce ne dust il mie dire 
Car que co dit mei eat avis qu'il dit folie 
Car icels qui dient qu'il ne querent neent plus 
Mes qu'il poissent estre sulement dedenz lus 
De ficble quor lur vient tels diz u pensers 
Qu'il voldreient estre dereins et nent as premers 
Mes oez mun conseil trestuz communement 
Seez de quor si pemez a vus grant hardement 
Knpemez le ben & fatre e dex vus atdera 
Desorvez le plus haut liu e deus le vus durra 
Deu par sa grace nus doinst eatre as premerains 
U si ce nun aukiine part nus dolus o lea dereins 



i>ROVEN<;JAL WORDS 



1 HAVE nowhere seen an account of such Eng-Iish words as have 
bctin burrowed din-ctly from Prt)vi!tn;ai : and ] therefore tiike this 
opportuoity of disciiwing a. detail in the composition of our liuiguagu 
which has ]lOwh(^re been dealt with. 

Of course, there can be no doubt that, amon^ the numermis words 

which we have borrowed at various tiinus from French, a few were 

red by the PariBinns fmiii the South of France, and uru tbua 

iven^ nordH at second-hand. Cxamplttn occur in btrdiuagf, cairin, 

feabinet, cadet, iMrdoon,/ad,ji;j, radish, rit/adaon, and mouiis others. The 

consideration of these fonna belongs rather to the history of French 

than of English. Flumitii/n is likewiw of Pn»ven^'al origin, 

Neither i» there anything very reotark&ble in the Qicl that the 
words tulle and valance an: dt^rivod, reaptictivoly, from the place-names 
Tulle aud Valenee. both of which are in the Soiitb of France ; for it is 
Dot likely that theafr came to us otherwise than ihi-ough Northern 
French. But there arv a few words which wc seem to have imported 
directly from Southern France, and it becomes historically interesting 
to consider how such a result came about. It fomiB a small, but 
separate obftplcr in our linguistic histoiy. 

There ore a couple of lines in Chaucer's description of the Shipnian 
which throw a clear light upon the rantter. He ways : 

Ful mAiiy 11 dmught of wyn luw) lio v-(lri*we 
I-Vom Burdem-u-ard, whyl tiinl the cKapniitii al(«|>. 

We niuDt reincmlier that, in the dayti of I^lwunl III. and Richard II., 
Bordeaux and the adjoining e«Minti>' belonged to England; and that 
when the Shi])tiuiii brought cuakit of wine from the river Gironde to the 
river Thames, the communication was quite direct, from one part of 
England'tf dominions to imotlier. and had nothing to do with Northern 
France. We might therefore expect that at least some of the tetros 
innecled with the wine- trade were nccosBiuily Provcni/al. Such was 



284 



Proven^l Words in Englinh 



actually the case with the words funnel, puncheoH, ruck, spigot, and 
uttaffe: wonln which have given the etymologintK a gtxxl deal of troiihle. 
I may claiiu to have myself (istahlished th« etymologk'« of these wunb, 
though Mr Wedgwood had already compared /un-nel, rack, and ullage 
with Languedoc forms, without amigning any ruaiton. 

However, it ie now clear that /muiel represents the Pn>v, founil, 
longer form enJbunUh, from th« LaUii iit/undibulum. Puncheon, iii the 
sense of 'cask.' is Dot from the French poia^on, bnt from the Gascon 
pountJumn. To mcjt wine. i.e. tu cltjar it from dregs, is from the 
Gascon verb ar^'aca. which has that very sense; and arraca in itself 
derived from raca, a docked furiu of dmca, ' drcgii,' aiucwt-ring to the 
C)ld Fn-nch dracJie. Spigot represents mi old fbrra eapigiit, now only 
used in the SL^nse of 'lui ear of corn well Lhnvihcd,' but originally a 
variant of eipigoun, which meonfl precisely 'a spigot'; from the Latin 
apica. Ullage ia a technical Icnn which I have oxplaincd in my 
Conci4e tHctionarg (1901). 

But these words ore not oil ; wc may add to thera buttledoift; league, 
ncoee, tfoubadvttr ; and even lingo and girrak. Ail these have an 
interesting history. 

When the Shipman and his fellovrs sailed up the Gironde, we cannot 
doubt that they saw many young wafiherwomea diligently washing 
clothes by the river-side with the aid of a batlct, which was called at 
that time a batedor in Provencal, and simply means "a beater.' They 
promptly leamt the word, but turned it into bvttledoor, by awociation 
with battle, which in Jlro^■^^eiAl English still meane ' n mallet.' Bate<hr 
is formed like troubadour, which i? well known to be Proven^l. 

League, as a measure of distance, ao^were to the Prov. lega, modern 
Bordeaux tigne (so aayt Mistral), net to the French Heue. Cotgrave 
notes that the FVench lieue measiires about two miles, whilst that of 
Languedoc measures three. That is why the English marine league 
jneasures three miles likewise. It is a sailor's word ; so the .Shipman 
knew it. It apiM-am in Middle English in Cliaut-ur's lime. 

Why noose should be a Gawon word is not at first obvioiis; but a 
moment's consideration will explain it. Whtn the Shipman wanted to 
coma to land, he had to throw a noose at the end of a ropi* owr a post, 
as is done still; so there is no wonder at hi^ ac^juiring the Gascon 
name for it; it was, literally, the first Gascon namo that re(]uirMl hia 
notice. It represents the Gascon nntt, mod, Prov. notu, from the LAtia 
nominative nodiis'. whereas the French titeud is from the nccusative 
nodum. The Languedoc plurnl of novs is norues. Mistral gives a 



W. W. SKEAT 285 

Provencal proverb, in the form — ' Fai-te 'n nous A. la co,' literally, ' make 
thee a noose for thy neck,' which we express more briefly by the words 
' be hanged.' 

Mistral, in his Proven9al Dictionary, tells us that linffo is the precise 
form used at Marseilles. No doubt our sailors picked it up at that 
famous port. It does not appear io English till 1660, long after we 
lost Gascony. 

The story of sirrah is one that greatly interested me, when I first 
found it in Mistral. It does not represent the French sire, which is a 
title of honour, but the Proven9al sira, which (though it is the same 
word) is very much the reverse. It is merely the French word sire 
adapted to a Southern pronunciation ; but altered in sense owing to a 
difference in the point of view. The Southerners detested the French 
irires, and went so far as to use this polite title as a term of contempt. 
This throws a clear light upon the use of the word by English writers. 

W. W. Skeat. 



M. L. R. 19 



A PAMPHLET BY BISHOP BERKELEY. 

(HITHEBTO -aNDESCRIBED.) 



It may interest students of Bishop Berkeley to coll attention to 
the existence of a publication of his which seems to have escaped the 
notice of hie editors. The following is the title ; — 

Queries I relating to a [ National Bank, | extracted from the 
Querist. I also the | Letter | containing | A Plan or Sketch of such 
Bank. I Republished with Notes. ] Dublin, j Printed, and Sold by 
George Faulkner, | Book-seller, in Easer-street, opposite the Bridge. | 
JIIK-CXXXVII. 

The |uiiuphlct is of 40 pp ; the aignatures indicate a ijuarto, but 
iny cut copy ha.s the appearance rather of an JSvo. Chronologically it 
eomen iinnied iat«ly aiWr the trhiid part of "The Querist.' In separate 
sections it gives Queries fi'oni the First Port of the Querist, pp. 3-13, 
Seoond Part. pp. 14-23. Thii-d Part, pp. 24-33. ' Tha Plan | or [ Sketch 
of a I A \»lt\ Natirmat Rank | To A, B. Esq ;' occupies pp. 34-40 ami 
is signed 'The Querist.' I have not noticed in the queries any 
variations of io.xt from thiwe of 'The Querist" in its earliest form, but 
my examination has not been miuutv. 

The •Advertisement" fp. 2) shows that the selection is Berkeley's 
own: 'The Author hath thoiiglil 6t to select the following Queries 
from among others of a Miscellaneous Nature, tuterniixed with them 
in the Querist, to the Eud that, thiue which relate to a Xatinnnl Bank 
htiing brought together in one View, the Reader may be the better 
enabled to judge of the IWfulness nf such a Proposal, and understand 
the Grounds thereof.' 

'The Plan or Sketch of a National Bank* is alt«rt>d and enlarged 
from the letter of Berkeley to Thomas Prior which was pubtt8h(*d by 
Prior with BerkL-ley's approval iu tht; Dublin Journal (1737), and may 
be found reprinted in l^rnt'easor Fraser's Life and LeUvrs of Btrheley 



KDWARD DOWUEK 



287 



(1871), pp. 24S-S4J), Ad th« alterations and additions are considerable 
it may Ix' prinUnl hnK in fiiM : 

Sir. 

You t<?ll mv, Oentlemen would oot bu avetae Cram the Nutional 
Bnnk proposed in the Querist, provided they could see a distinct Sketch 
or Plan of auch Bank drawn up in one View. The Qiifriet iiuliicd. only 
put6 Quc«tiot)s, and oSkk Hints, not presniuing to ilirect the wisdom 
of the Lvgialaturc. Bui it should scorn uo difficult Matter to conrort 
Queriee into Propositions. However, ainc^' you desire a short Abstruct 
of Diy ThoughtR on thi£ Subject, toko them aa follows. 

I conceive that in order to erect a National Bank, it may be 
expedient to enact : 

I. That an additional Tax be tmaed of ten ShiUingt the Hogshead 
OP Wine ; or. th&t surh other Tax bo rouod M shall Boem goad to the 
LegiBltttiirv. 

II. That the Fund arising h>im such Tax, be Stock fur a National 
Bank, the DeBcieticies whereof to be made good by Parlianienti. 

III. That Bank Notes be minted («) to the Viilue nf one hundred 
thotiHand Ponnda, in round Nutiibeni troin one Pound to Twenty. (6) 

IV. That such Notes be issued, either to particular Persons on 
CaKh, or Security: or el*«!, to the tJsies of the Piiblick on itw own 
Securities. 

V. That a Honse. Treasurer, Cashiera, and other Offioera, {c> be 
appointed in Dtihlin, for iho ultoring and answering of Bills; for the 
jii<)ging <if Seciiritios : for the rBceiving and keeping of Ca.>«h ; and for 
the managing of this Btiuk as other Banks niv ninnnged. 



Id) No CoQiltr; bath mnm nntiiml .^dta^lnf;l:l<. Our Wnnln thrti?[nrr lur miMtlr la 
ba fflMlwd into llie W«tlt of Skill and Induslr; in onr I'oopla ; thn proiMir Kncouroffimoot 
wbnwof coiiMnlii in ni»dy I'jiTiui-nt''. TLi-mi Pavmrntu iciaat lio umdi: witli Mono;, and 
IfttM; U of twa Horti, 8p«Giii or Puficr. Of thu forxaot. wr nmiliiir hnrn ■ ■uflioiiint 
Quantit]', nor yi>t UMn* of ae<|uirJnu it. Ol thp lullvr Son. wn tany 1i>t« whttt wo want, 
as fnvA and cnTrent ni> iiny Hold f->T ItompiliR tlM«. Wli; tilicinilil wo noL thorpfnni raaoh 
forth oDi VIm.u^. ani) lak« of iViai.Sonnf Money which in inonr rniccr; ami wbicli mabM 
Hit lite ttwiiti Pati of tliu Wealth of iti0 idmi dQuriBhiiiff MUio* m Buropo? Thu. br 
ptDoiotiuK luduEtr; al liouie, ma.j adraDcvour CrMlil ubtoad; an*! in the Bvcul, muluplf 
our Oold and SiU«. 

(b) It arvmv \ety rvidtiic that, tic the t'lind whdt it will; or in Caw then yntt do 
Fond at all ; jti thuc Notm would oirculnte with full Crodit, if thepr were raie to pati in 
•II fajrmontti of the Kcveuuc. That iv to uv, tti« Ootrorom^nt ttirif coa)d gt*a moK 
Cfwlit lo tliftt Paper, than amj oclier Scourit; now cnmnt ainotift ua. 

{f) Atnoug tlitMv it in profiowd, tirai ihetv be twn Uamigi-rs with RaUrtea: Odd of 
wbom alva^n to attend; and tbatvuoli ^Ulcere be al lint iiauiini iu tliu Act, aud aftvmard 
m>iaHMd by tbo Viaitora. 

19— S 



288 



A Pamphlet hy Bisfn}p BerMey 



VI. That there be twenty-one Visitore : one Third of thes«. 
Pcti«(Hu< in great Office {d) for the Time Being: the rs«t, Mcmbcn 
of either House of PiirIiBm*nt, some whereof to go out by Lot. and na 
inany to come in by Ballot, unci; in two Years. 

VH. That Biich Visitore visit the Bank in a Body four Times 
every Year; («) and any Three of them as often as they pleasfl. 

Vm. That no Bills or Notes be minted, but by Order of Par- 
lifiment. (/) 

IX. That it be Felony to counterfeit the Notes of thi» Bank. 

X. That an the Publick in at all the Charge, and makes good the 
Credit of this Bank, so th<- Hiiblick W alone Banker, or sole Priiprietor 
of this Bank ; the Profits wheroof slinU be aecownted for in Parliitinent, 
and appliod under the Direction of the Legislature, to the pruaioting 
of publick Works and Manufactures, (j) 

Fur thy better administering of this National Bank to the Content 
of atl Perenns, it will be thought expedient to add divers Regulntions 
about the Number and Choice uf Visit<irs, and other Officers concerned 
in 8o great a lYiist, into some Share whcrc-of it may not perhaps 
altogether seem improper to luimit the Oeputiea of great Corporations. 
For the same End, those seveml Precautions by Signatures, Cyphers, 
strong Boxes under div-ers Keys, and such like Check*, which are used 
in other Birnks, would not be omitted iji thi&. 

A Bank wherein there are no Shorcra, would be fi'ee from all the 



(ri) No just Jcftlouqr out be«oiiociv«d of tbc I'vwcr ol nioh Visiton, iniumiiich «a tlidjr 
KN to Bit« DO new I>iie«tioni, bnt oolj mo tb*t tbc DiiMtiooM or tbo LofciiUtara b* 
obiWM. 

(0 It is «tijeal«d, that this were loo laiiiib Troabic lo lit «xpeg>ted fiom Vbiion who 
have no Balancs. But if four TiRi-eit be tliotigVit too cft«n, twice mtiy do. It t« Imrdlr to 
ha vuppOMd, tliit lj«ntl6ineii ntinld b(>gnidgii th» Alt«i]d&np« of two t)aj» in the T«*r 
Onttt, for Ibe Servloa of theU Couotry ; or 11 thoTc be fiivh OeDtlembo, it Mnaot be 
•uppOMd tbftt tbejT would Iw e]iu««n by Uultot But lliit may l>e pmtiileJ »||MiDi>t, by 
BlluiriaK IVnKina, who cannot attend. Leave U> decline the Oflloe, and electinx others in 
tbeir SU«d. 

if) tJndpr thp Direoiion o( the Farliuniint. ih« Poblirk Woid will pr«*cnb« » Limit 
le Bank NoUi. wliirh wiLl alwaire pr«*erv« their Dm and Value, providnd lliej an* 
multiplied onlj in r'rnpottioii to Industry, and to ansvet to ih'e I>einatii]^ of InduMn. 
Paper Criilit van duvui he tu hccuiu uf duini;! Ouiid to a Stale, hb by tuxkiny ih« DemtUMB 
«{ Induelry iu MoHniiru, aud lh« itici^a«« of ImluHtrj ite End- Tlie e&tuv liulJs aleo with 
ficgtud to U«]<1 and Silver. Tlie not eon iiidv ring tbia wemK to hare been the gnat 
OToreight. 

fg) Ueo dif|)oeed W object, will egnfound Ib4 umI diiTorttit TbiaffF. vr«i bjivc had, 
iudeail, Scbemee of private AHwxiation foiiuprly propo««<l, •rbicb aom^ mar mi'take for 
Katiiinnl Boak*. Hnt it doth not nppnivi that any t^licmd of (hie IJatiird wa* vrcr 
propcMid in iliesH Ringilnmx: And Hmon); the Ftireign Bnnkn, p«tliaim lh«n> will not b« 
jotmd one MiUtlilMlied on so clear a Foot of Credit, ooolrived for Bimh a K»iieral uid ea«y 
DiTDolatiou . aiid to well eecared from Frauds and Accldemta, u thai wblcb it i> now 
heptd tuuy, by the Wbdoin of our IicftlBlatare, be modelled and erected in Jreiand. 



RT>WABD DOWDKN 



289 



Eviln of Stock -jobbiug. A Bank, whereof the PubHclt tankes all the 
Profit, ami thpn-forc maki-n (jikmI all Dirficicncies, must be mont xocurv. 
Such n Bmik piudt-ntly uiiuuigiMi, would bt a Miiiw of Gold in the 
,.HandA of the Piihlick. The Bills therr-in minted, would b<; cquivak-nt 
to so uitich Money iiupurtod inlu thi- Kiiigdiiui. The Advniita^s 
of such a Ba.nk in rentonng Credit, pmmobing Industn*, ntinweritig 
tilt! Wants, A8 well o1" the Piiblick o:* of private Persons, putting Spirit 
into our People, and enlivening our Commerce, will, I suppose, be 
ovideat to whoever shall consider the Queries of late proposed to the 
Publick. 

Rcasona for a National Bank and anawcm to Objections are porticu* 
larly inaiated on in the Querist, wherein Are contained also several 
other Matter* relating to such Bank : which in Time nmy be further 
improved, altered, and enlarged, as the Circumstances of the Publick 
shall require. 

Ever}* one sees that a National Bank admits of many variations, 
ami minul^> Particulars, diver* of which are hinted by the Querist, but 
the Publick will chuse what shall be judged moHi convenient. 

It should seem the I>ifiicultr doth not consist so much in the 
Icontriviag or executing of a National Bunk, us m bringing Men to a 
rrig^t Sense of the Publick Wyal, and of the Tetidaucy of such Bank to 
promote the same. 

To explain thesf Points, and u> urge tht^m h'tuie, both from ReaHon 
and Eitample, hath been the Aim of the Querist, particularly of the 
thin! Part jUHt now Pubbshed, which, with the two foregoing, contains 
many Hints designed to put Men upon thinking what is to be done 
in this Critical State of our Al^iirs ; which perhaps, may bo entity 
retrieved and placed on a belter Font than ever, if those among uh, 
who arc nioet concerned, be not wanting U> themselves. 

1 am your humble Servant, 

The QCEKIST. 

It may be worth noticing that in the Dictioaary of A^aiiouat 
Bioffi-aph^ (IV. p. 355) "The Querist. Part in" is mentioned va 
-Part IV. 1737." There waa no "Part iv." 



EUWAHD DOWDES. 



THOMAS MOORE ET A. RE VTGNY. 



DEtlx articles r^nts, Vim (k M. Etne»t Dupuy itur lee Origiiut 
litt^mir^s d'A. <le Viyny^, I'aiitrc- <Ji- M. Schultz-Otini siir Eloa*. ont 
iiiHJxl^ Rur les empnints mi Itw remitiisceiiceK <nu rattachi-nt cv 'mystire' 
k dautres oeuvres, siu-tout ^IrangtivK lis sonl d'arcord piiiir r^uirv 
au miliiniuiTt riiiflueiice (ju'a \»i exereer Mtjore siir Vijrny. ■■t Xv potnie 
dew AmQHrs dr* Alices leiir si'tiible dt-voir ^tre ray^ dii nimibrv des 
OLvrogGB doiit ]inicederait. k <|iielqut! ilegr^ la Scear des Anga. lis 
H't^cjirtimt en ceci de TopiDion (in- Sainte-Betive ijiii iiirttait vn 1835 
'TboDiiia Moore lui-meim; ' pAiiiii lus "wmrci-s exMirieurt-M du Calenb 
poitique de M. de Vigny, si on les recherche bJen*.' Dfcs Ia puWication 
d'Eloa. Hpriri di' I^tfiiiclie, lie avec Vlgiiy, avail, dans lo Mercure du 
XIS' Sihle. irulicjat- amis ay air^t-c-r que 'riuvention de cette fablt* a 
queUpin analngie avcc U'l jHwnif tie M(K>n-', mi dc Byrou': uii r^-dacteur 
dti Olobf. Ch, Magniti, nolAit 1l- 21 oclobi-e 1829 'iiu'aiiprfes iVEha, \va 
Amours dea Aiu/ea, de Thomas Mnoix-, m- unnl iiu'iiuc mesquine et 
coquette conception, un feu fullet saus conaisttmce et aans {''^rt^t;.* 
Mfone flQ aupposant un claMtement aiisjd illegal dea de«x ouvnigvit, le 
mppruchcment paraisnuit ^'imposer: un 1l^ reiiomtre eitcoi'e »oub la 
pltiine d'un critique aiissi inform^ qu'Eniile Mimt^gut : ' Eioa a w»n 
originu dans lea Amuurt f/«* Artyea dc Moctre,' 6orit-il daos !« Revue de» 
Deux Mondee du 1"' niara IHti"'. II e»t pt-riuijs cnfiu de retivuvcr un 
Mouvenir d^guiac^' de cettt.- a»»<x:iatiou presque cwDvenue de deux <K<uvree 
s^raphiqites daan I'alluHion faite Ji la foiii pur Balzav aux Am<i«r$ deg 
An^u et & unc scriu di- creatioiii^ plus ou moins an&loj^ies, lorsqu'il 
parle — aaoez k I'lmproviste — du ' po^nie caress* par tsnt de ptwtes, par 
Mofrc, par lurd Byron, par Jlathiiiiii. par Canalie (ud d^mon poesedant 

1 Rrvvrd'hitwirf lititinir* lU la Fratur, x. (I9(l!l), p. 373. B*|iiu>luU «D voIuihb Uiiu 
1ft •Trunnnr lUn llDiiuinliquu, Van*, 1900. 

* ZritArhri/' /flr/niiii'>r*i7rr Spraehf uiid LUunitiir, ixvii. (19l>*), |i. SJfl. 

' Puriraiu tviiteaiporaui; t. lu p. 63. JI j ntviwl CD li^fU (.VcMirniux Lindi*. t. VI. 
p. «!). 

* Dkiis .V«u mord eiinUBip<rmiiu, !■ «ilri«, p. Si4. 



FERNAND BALDENSPKIUJIUI 



291 



till ongc attire diui» son enfer poor le rafhdchir d'une roe^ d^rob^e au 
poradis)'.' (^uvllc c«l en i^nlit^ la nature do ow rapports ou de cette 

rd^peodance ' 

Potir le i>rcniier romaiitisine, oeliii tie 1S'2(), qui n'avait pu* enciire 
fait aa r6voliitmn i-a matiere de langue et de Htyle el qui toettmC 

bprraque tout son effort k cr^er une sortc de Httr^mtiire rranscwndentalt!, 
ie poi^te dti Pamdisi et la P^ri n'avait pii nianqiier d'a|i[MiniitrB cumme 
un auxiliairi' pr^eiciix. De fait, im \v tient en mingnlion? ogtinn*. et 
e'r«t A peini! .ni W. Scott v.t Bynm fnnt tort k sa r^nuinTn^e. 'On dirait, 
fcrivetit les Anntiies de in litieratnre et des arts*. qiK" wk trois g(^nie» »e 
Bont divise entrt- eiix Ujutt? la tr^atiuu. W. Scott sWt empiir^ dt? la 
terra ; lord Byron eeni'ble s'dtre pWcipit^ daos le» sombree nbliiies ; le 
donuuDC des cienx est ^chu k Th. Moun;. II Hemble, en f|nel(|ue Bortv. 
initier I'hommL' aux sublimes mystfereti de la divinil^.' Cent & propoa 
dc« Ataour* rf«* Anges que I'orgnne attitr^ de la Soci^t^ cles Bonnew- 
Lettn-M pniwde h ct_'Lle r^parttlion de ruuivont ; et ce po^me Hemblait 
en eftet mettre le scfsiii a la rennnini(5e de Moore consider^ cotmne le 
pei]itre dw* regions siip^rieurcB. Mais il n'avait pas attendn jiiwjue- 
la* pour exereer ime influence dotit Fonlaney, Guttinguer. Gerard de 
Nei-val ollrent mainte trace: Berlioz et Th. C>aiiti<'r h leiir tour reprd- 
nentenini, dans Ea troupe <leii ailtuirattMirti Frunyais <ln [loett- irlandaia. 
conuue iiii second ban, qui I'aimem pour des quality diflT^renteit'. 

Alfred de Vigny a dA de tr^ bonne heun- etre mis «ii fiiit de 
Tceiivre de Mofire pai- son parent Bniguiere de Sorsurn : celui-ci publia 
en effet diw 1820. danx le Lyc^e franfaie, uo long article Hiir Lalla- 
Rookit, nil il a'attanlait Hiirtout a I'ing^nieiix ♦'pisode dii Pamdis et 
la Peri*. On voiitlrait poiivoir decouvrir le noni dii jeune pii^te 
aristocrat« Im-m^me »oU8 t'initiale V. qui sij^e tin article du Con- 
trvateur iitttTaire, m yiin 1820. conaacn^ lui rnvmi k Latta Hnokh*. 
j'auteur reiuarquait que ' le style e«t ce qui pi^eCe le plus a IVIoge et k. 
la critique' daim ee poi^me, main il troiivait lex d^fautit ' bien nwheti^a 



' La Liemi^rt Jneara-ttion de l-'iiulrln [djwmbn 1847|. Ei. dw (Enrrti ^wmpIMM, 
Puis, IIWI). t. SIX. p. 19. 
' leUS. loin« u. p. M. 

* UiM d«B {irrmiAtrs m^mtioiu de Moan; temble le trouver dun* tin utlde du Lf/efe 
/rtuiiait. 11*19. tuning i. p. til. 

* C'cft ■urivut nutouT •Ui VKpleuritn qoe wa raaMinblCDt, Kptim ViVl, mi nauT«U«« 
Kdtatniioaii. 

* L^<i*JraH<,\tit, 1820, 1. ni. pp. all), ati3, 409 |il propoi de U tnduetloii fichot). 

* CtMunatrur liltir-iirr. 2* Kiin^r, livruuon tv. (i. IM). Sainta-Bruvu rutuilxio k 
Haxo. Mtnble-l'il. Scion M. I)ufiuj (Jmnnw drt Itainaaliqua. jt. 231), !■ prsmiBr Aitide 
d» Vigajr dnn« or iNriddiiiK- wTKit ocltii qu'tl coiiMorait A lord B^ron huu* oetic m4mft 
rafarlqtM d* Liti/rntitrt iuiglai»e, max* en d(;ociiibro ISiO. Jm IVri. 'TcntDt do Kileilt' 
patalt d4j4 dut» tiflhm. 



202 



Thonuts Moore et A. de Viffmj 



jNir 111 varii^t'd tltw Bguren, l^lat (tu colons, lu gract! mi Teimrgie d^ 
puiuturvs Ht cultti v^rit^ de teinte locale qui r^pand, snr \«» iin|>er> 
fi'ctiont* ini'iiicifl. une sortp Ht- ohnnnt.' magiqiu-.' Surtout il ohscn'ait 
tjue 'Ic-i oiivmjjes dr Th. Moore, qui ont pin gdn^iuleinent, choqueroot 
totiUtfuiit \\' gitiit de quelqii«a champiuiia du clasaiqwe Hatu qii'ils puiHHent 
jnotivi^r lt>ur sAv^rit^. La j>o^Hi(> ruuiiuitiqii<?, par ses foniiea vagiien tit 
ind^iNtvfi, ^happe k In critique, semblnWv k ces hAtes fantA-niqiies de 
I'El^'tH'v |Hiit'ii, qui fiappaient In vut.- l-I se d^-ntbiuetit A. la mnin qui 
Im voiiUil twiur.' N'^tait*ce paa H^finir dann iin tiens bieti conforme k 
lu UMidiuicu dii [>remier C^n&clo 11*;! particularity prei^r^ du po^ 
if liuidaJH >. 

Vigiiy lUlitib siibir, & I'l^gard du Moore, reffot d'uu autn- prestige, ek 
I'uu dt- peiix qii'un appn-iiti de lettres ^pmiive presqne inraillibleincDt. 
Dr la fill de ISIS) om printrnijis de 1822, I'ami et Ic confident de lord 
Bynm. I'hi^te faCori de I'ai'istocrabie lib^rale Ht a Vans plusieurs s^joun 
dttiil lu jiium- lieutenant de la gardi; royale a ^U' C(.>:rtainement plus 
qii'infonii/'. Le Journal de Moore mentioniie' un grand iiombre de 
viaiteo, da Boir^e-s, de rencontres mondaines qui mettent le poete 
#tmn(;er en presence de Mines de Flahaut. de Suinte-Aulaire. de Barante. 
du L)4>li)niieu, et aurtoiit de la diirheHA<- rje Hniglic, la fillu de Mme 
de 8tiiel, que Moore nitrouvait k Paris aprt-n I'avuir d^jA cormue en 
Aii^leterre avec sa infere', pendant les demiers nmin de I'Enipire. On 
nimerait savoir lea iiuiub des coDX-ives que Mme de Broglie fit roncnntn;r 
il Mt>i>re le lif Janvier 1^20, et Ton est l«nle de tt'luipatieuter de la 
mt-m(«re indift"^n-nte. diJdaigncusu cu eourte de lilluslre tSlrauger, qui 
note dans 8-«i journal : ' Treize peracnnee i)uliv moi, qui ^tais le seul 
AllglaiH pnWnt. II y avail lil qiielques hommes dyot on vuiite le 

tateiit, luais je ne me rappelle pas biec leurs nomB. II discnterent 
iitt^ntture aniflaise aussi eomumment quo s'lls connai!«aient rieu a 
i'aflauv....' II est certajn, il tout le inoins, que Latnartine, qui est go 
relations avec Jlme de Broglie des 1819', dont Moor<; troduit en 1880 
qudqucs vers pour V£dinbi'rftfi Heinetv, a H6 adnii»t fi I'hoDneur 
d'appriHjher I'auteur de Lafta Hookh chej: Mme de Bmglie. Et il 
(W6i>cie d'nne fa^-on si irnisistible ce souvenir k eolui de Vigny, qu'il val 
permit* de pr^umer que s<')n if-nnile en imesie re^ut d^B «»tte i^poque It 
contre-coup de I'^iuolion resMentie par Ifs privilegiiV q«'invitn le due 

' MrmoiFK JouTHiil ami Correitnntdr-iict of Th. Uovrc, London, tM9, i<A. at. 

* Il In ratroure chr-it Miiie ili; tluliiuil I'i 19 d^ceiubre Idlll. 

* ff. le* Vitii/iltmtr, id. Havltoitv, Uvn; il |>- 304. Mint da Uiogli* )>*rla <1« 
LMUArlitifl A Run aittiv Mnw Aiu»>ou du I'^irou dan4 nin- tettri> dti 11 avnl lA^O {l^ttrt; 
pBhliito fit' t-O" fiU. I'nrii, ItiOC. p. i'i). 




FERXANO BALDEKBPEUUKR 



293 



de Broglic. A]>r&8 avoir mppol^' qu'il Avnifc ^tA Ii6 avm ^>gny 'dt'puis 
le jour oi» il I'^jiaiidit wm nam dans le monde,* et avoir indiqa^ rinspira- 
tiou t>jT»mipiinp dn Dohridn, Lftninrtinc eontiniie: 'Uno aiitro iaiiliiiioii 
plus ttudi*V Umiait dvtjk Vkma doiion fit tendre de Vigny. Thimias 
Moon?. IrlnndniK d'liii grand talent aiissi, I'ennit dv publior Ws Amoura 
des Aiifjes ot talta Rvokh. po^nmH indimif) (*tc). H (^tait alors k Paris, 
jniiuiKant cinna iin Applaiidisst^rnent uuiversel de^ la lleur i-t di.> lu primuiir 
t\v 8011 laleiil. Jy li- voyais soiivcni, (ihpz Mm« la durhpsKi' dt* Bmglie, 
fiUe de Mine dp Sta^I, et femiue dont la beaul^, la vertu, rfiiivrement 
iiivwliijui" ft la pi«il*l wtfstp devalnnt mvir le pofet** Irlandais i-t fain.' 
cniiri' il la aceur des aitg«» <\\av Vjjfiiy voulait cr^er puiir type id^al des 
amours »«:r^...' 

M««rc ^tait-ii 8en»ible en etifet k U giscL' s^mphique de Madame de 
BrogUv ? Son Journal ne t^moigne, k cet f^gaixi, que d'une sntisfactinn 
luvKZ %'iUgaire k la trouver tr^ «Dthou8ia8t« den Melodies irlintdaistsa 
(21 oiiii 1821). i lui dire des vers (3 avril 1K21) ou i chanter avec elle 
((t deceinbre 1821). et il n«* nuus miotifm ]hui du suji-t de» auiiibn>uBe8 
'oonventationn' not^es chemin fainant. En tout cas, le pofeme The Lotiea 
of the Angels, ^"cril sur le continent, pacwtt p«u dd temps apres le 
oiyour de I'aiiteiir k Paris: il est mis en vente d^s janm-r 1823*. 1a 
m^me aum-c puraisscnt iJeux tiuducbioua en prose, d'ubord celle de 
l)»vt^ii('tt ill- Pontes", ensuite celle de Madaine Belloc*. que Moore re^oii 
le 15 JnilleT. 182H. ' av<_-c urn* lettre fort flalteusc. .. Mine Belloc dit qu'il 
y a dtJiix itntreN pei-siHines <iccii[)ees k tnuhiire leu Anges en ver»'.' 

Mnie Belloc- publi&it a la suite da sa traduction eclte des Mdlvdxea 
irf-^indaises: Ioh admirateurs fran<,'«iH du poetf ptsefdaient ainsi <lana nn 
menie volume. agrt*meijce d'uii portrait titliogmphie. unc version useez 
haliiTf) di- deux otuvroa bicn propnn k plairc an jtnblic de cct.to ^poqiic. 
Vigny savait asaez d'anglais des ce moment pi>ur se passer d'une 
tniducti<pn, et pcnl-etre prit-il c»nnuiH»aiivv dus Lovea of tJit Angela 
avant son d^piirt pour Slrasbourg en numt 1823. Mais c'est pliitiK^ 



■ Court familifr dr liitfrntum. 1. 111. Piuis. IStiS. |i. 'J3'J. l{«|>TodnU dftnii loi Souttnira 
€t Portrait,'. I. III. Parili, 1873. p. IIH, 

* D'Apr^a SolmlU-Oori. art. otl<-. p. ^Ta 

' Lfi .inioHrt rfM AHBft, ])o<tn>e an lu chuib, tiwl. At I'kDslaiB. Paris. IMUotAln^, 
1831). 

• Le* Amatir* dt* Anyrt rl ht itfUniUt irhmlaueM dc Tbonuw M«vi«. U»i. dal'scglaM 
pAr MiB« Iroaifo Rw = it(']l>ic, Imduutiur do I'btiiiLrcfai-i. I'ArU, Chuwriiin, 18S3. 

> Ptint-iJtr* Uit-«)W nlluHJ'iii m Ia tnuluotion Dit«T«il ilo Villtnouve, dont on Imgmenl 
paraii dkR< VAImmwtti Jfi Mhuji du 1S97, p. SO. Cf. ktuHi hoiur Fn^I<uti>i /)-aiin)<ic« &v*a 
BCO0Rip«KO«in*nt de piann ou <1p luup«. paralM iiniUra do Tli. Moore, par le C" Antiuhlc 
dt I<*fCMYl«. Farla, ItCia. time A. Tb«Iii tnuluit k celU 6pi>qtic ilivexMt Mflwlitt 
irianiLtint C» n'Mt qu'en It^!' et iMtO >i(ie d<.'vmicnt pknllre lot tmdiitliijiJ« en rmi •Iva 
liamr* ilrj .f mjk* par Aruux «t par Motttudicr. 



294 



Thomas Mooif. et A. de Vifftvy 



mon aeru. apr^ mm arriv^ k Bonluatix a I'automne, ei luraqull ae 
remit k tnivailler c« S<Uan. qui I'avail occupy peudant I'^t^. que Vignjr 
hit et relut li; pot^me ile Mnttre, et cela dans )a tnuluclimt de Miue 
Belloc. Cette derniere ^Init en rapj^urt^ assoz iotinies avec la &uiiile 
OayS et Vigny, dunt on sait len ivlatunns aver Mmc Gay et U belle 
I)f!iphine A cette ^poque. avalt toutwt les rai^as d'etre au rouraut tie 
806 tmvuuA. II i-mpnioK^ a im trwliicbinn tle» MUodies irlandaige$ le 
th^iiie fie ]'e5p&ce de romaDce-l><irc:arol)c qu'il intitule le Batmu\ Eb 
pendAot le looiii uCi mn iSo/rtn, dnvRnant' Eloa, 's'^tend benuooup sods 
Bes duigtA,' et saiigmente ' d'ininiensfs d^veloppemente,' c(immc il 
r<icrit h. V. Hugo li; ;i octobrt-', il a anntu la main ct-tte traduction. Lm 
qui trourait pr^cis^ment f^ cette date que ' Lamartine a niamga^ ston 
cicl cummc tons cuux t|iii lmi ont Jait,' il avaiL bcsnio dV-tufl'er sa tiume 
t;t do dociiiiienter ses notioos du iuuikIc atigi'litjue. 

L'lvctiut) proprcincnt dite. dans Eloa, ne doit paH grand cbode a 
roc-uvro de Moore, et Ton a raiaon de chercher dea pr^edeuta de plu» 
haute allure uu byrouiame lattrnt dan» ct: poetne ile la Sobut de$ Angtt. 
a. Schultz-Qora cependanb reinarque justement <|ue dans le Parudit it 
la Piri c'est, apri?s deux tcntativea infniclu<'U8es. grace h Voffrandc qn'elle 
peut faire de la lariue d'un criminal repi.-iitaut. que la Peri exil^ 
du Ciel en retrouve enfin I'acciB. D'autre part, quelque parallelisme 
^pisodique ue laisHc pau d'ap;iaratt.rR, entre I'ignoraatc ot la pitoyable 
curioait4> de la tendre Eloa et les aniaurs des trois anges naasculins de 
Moore pour dea mortelles qu'iU aiment, Tun par aensoaliti, I'autre par 
on eulte excessif pour les creatures de Die«, le ttwisitoc par pure 
simpUcit^ d^ eieur. Le deuxi^me ange de Moore, C4>nii]ie le Satan du 
Vigiiy, fond*'- smi si't juetion sur rinconscient appel iie» sens : 



Uoorc, p. 43 de k tnul. Dollmr: 

I^ hubitAJeDt tAut d'innuTutjrnbloa 
ohoaua ijiii nriurnsdont Ta-rdeur dca 
jeunfg* uisunt, Ll^)) ik^im nigues, lea 
tendres illuftimiH, \tm rfivox ct'unour 
«noore santt objet, lm t)B[JtVui(Ji!« Wgftnw 
ot ailt'es qui ob^isMiDt nil d^it*..., ttt 1cm 
piuwiitns (»chi.'« sous des peua^ vir- 



Vignj. vent 4Si : 

Siir Vhimime j'ai fornix nwu Dmiiira de 

fliUDine, 
DftiM Im di^iTH du cu)ur, diuiK \xm r£v«» 

de J'&inv, 
Dnns \vs dvaira du oor|Hi, fittraitB m]r»- 

U'1-it.'iix, 
DniiH lm treaors da suig, daaa las 

Kgardfi d«fl yeux. 



X^ premier ange do Moore, lorsqu'il a go&l« au * breiivage eni'iTanl 
de la terrL'.' eprouve un [Hin des ivresseti coupables que t» rappellu 
I'archjiuge d^hu de Vigny : 

■ Cf.. aur Ume Iklloc. Iks Sawcnira iniMtt de Del^luu. Arrac ritrwptttn r, lt)88^ 
t. n. pp. 23 et ig.t. 

' HittUbonrp Ih profit iD^t«; tWt « pttm dana la Rfvuf dft Dfitx ilondfi ie IKSl •( 
iIhok WHmiinaeh dfn Mmet Ae l^S'l. 



FBRN'AND BALDENSPERQER 



295 



Moore, i). 33: 

..JtioiiliMADt [mon Ante tigarto] dtf 
rutiM illUMonn, de foSI&s iwniilce, et do 
c* diSair du in«1 qui iioub pourauit en 
l*«bMDee ivs mjoiiB dii eiel... 



Vigny, vera W8: 

Triato ATnoiu- du p^b^ I amubree d^tre 

du tniJ ! 
De rorgiicil du stvuir ^guatesquu* 

Commeut ai-je conuu voa «nl«un iii- 



En d«^pit de cen rencontires accesfloiree que I'analogie de quelqufS 
yituations nc pouvait TUiui(}iii.-r d'arnvni^r, rinI.ention ct ta canduite de 
Taction oflrent chez tes deux poebes des divergences capitales 9tir 
KtKpKtIles il uttl iDutik- d'tuslatcr. Miuk Icn Amoun des Artffes, tres 
docuuii-^nt^es s\a le& m^-st-eree des niondcs celestes el iminuut k leur 
Huitc, menie daiut la. tntductioa fmavaiac. tout uii opjuirL-il dc rSrcrcncetf, 
])enuvttiuent k Vi^y de se i-«n»eigner sur luaint detail de I'vxisteacQ 
aog^liquc ou miVnic- de la conditiun jthysiqiiu des atiges, 



MooK^ p. 30: 

Q(Miqtu>. lo Jotir nRt dio^ni, mm aWoh 
dlftprtet (.'titicctuiiiiit df. itiillft fuux, 
ifn'ODlnttet d« I'^'clo.t d'Gdcn, «ll«i tie 
tiniMit que d'elles-mvuieu.,. 



Vigny, vera 631 : 

Ht c»mm«, tout noiirrii) d« I'Maooofr 

pTOmi&ro, 
Lva nngc« oDt ftu cteur d«a eouroe* dtt 

luniibre, 
Taiulb qu'eil« (larlail, aea &ilcft k L'6»- 

Ivur, 
Et non aeiii ct aon brait nipaadireiit la 

jour. 



Une autre irmdintion ^blouissante — traditionnelle, cm.1K'-cj — cett c«Ue 
ijui dmime de Dieu, et (jue Its* anges eux-in^me* ne peuvent supporter. 



Moon, )>. 7A : 

SouTeiit. quaiid du trout du Ti-fiK- 
HMlt ■'fehapinit UU wrlair imi: v'H pour 
le flu^iwrter, et qu« tuus l«s Siirap&inH 
sa voilAHiiit lo viHago de leurs niles, et 
ii'uMiant on co»totnp!«>r I'ltdfit... 



Vigny, ven «3« : 

L'luchiuig* fi>n Aflfbde, at wnn sm 

ehewtux xttnbreH 
Cbicivhe im i^in nTuge A mm yeux 

II iioiiN^ qu'^ In tin (1m temp« dvariouU 
li lui fiitdnt d(< m^ino aiiviattgnr non 

mMtm, 
Et qu'uii regard d« Oicu lo briiMtrft 

pout-M»... 



()u,avec line image fjiii s'iinposait & propoi^dc splendeiirs insHUtenables, 



MooK, |>. 6a : 

...n|)fjiroudre it HUji|Nirb!r uvl vcUt. 
comme lent jeuau aigloMauiJiHi'ruiit celui 
du aoln]... 



VigTiv, v*rii 6M: 

[raijjte d«H Afttiirios] 

Rt^nlc !mu BcJeil, d'lin Ik»c uuvvrt 
rAn|iin'... 



29fi 



Thomas Moore et A. de Vignt/ 



L'lJnDoi et lo scandate seraient lee ruemes, daos ces detu pamdis, si 
I'on y ^voquait le mmvenir de I'ArchRn^ r^vult^ : 



Moore, p. 18 : 

...ve feu (Uvonnt tju'un ne iioiniiie 
point aux ami. 



VigDjr, von 1S4: 
Nul Mt|» n'oMMie voiu voaUr ai>n 

Kol an^B n'awMJt dire mm kaa son 
nom. 



Somblable ^ la mort«lk> qu'aiiuc Ic premier acge d« Uoore, Eloa 
n'^prouve cepcndant ijuc du la tiistease, et point de colore, k oomuitre 
lee crimes du r^prouv^ : 



HooM, i>. iO: 

C* n'AAit [loii-t r«i|>r«it»ir>n <!« In 
colore. Nan...All^ u'll^it {>im trrJt/«, 
naitt tritfle. C'uUit uii douluur auMi 
oslinc qu« |>r<jfufi(l<!, un il«>iil qui n« 
p«rmet pviut <1« Uimois tatit l'«uertuui« 
^iii noDpIit 1« «aur s'j fix« ol e'y gluco. 



Vigh;, vers lt6 : 

Et Ton orat ({a'EbM le maudirait % tn&ia 

non, 
L'eiffriii n'nlulra point nou |«i(iible 

La truitowo iipiMnit aur att l^vr« glaofc 
AuMJt^ qu'un m»lb«ur s'ofiKt a nn 



Sui- lea foiictious * comiiit^tiea ' dcs phftlanges celestes, Mooro foumis- 
RAit (l<'R ronseignemontt* qu<- ni Milton ni Chateaubriand tie donnoicnt 
aumi Tiettement, et qti'il Havait appuyer du rt^f^runceM daus sea notes. 



Mourc, |i. 14: 

...ort^tiuvs tie liinii&ro...qHi. h ohaque 
imtant de In nuit et du Jour, tntns- 
n)rtt«nt, a traverM ItMin iriMonilimUrK 
If-jpim*, IV'cho dp Hii |>An>U' Imnini'tuo. 



ill, y. 1»: 

...pMirqool Bum dMtin n« tn'A-t-il pA» 
r&it ualtn eaprit d« «vtt« bello it^»\v, 
habitent ea briUnnte t<()h}iT, |i<iiv et 
umJm coBiiue t->iu tXH Hn^ ni^'oa- 

DAlktQ... 

ot p, 3T: 

Cc fut vcn» totte ^ilc IninUiiiie que 
je U via rliriger aou vol k inisan I'aeiwce 
lumineux, van cette tie c'tuicelaHte ati 
milieu du 'ftrmaDiont blcudtre... 



Tignjr, VMS 108 : 
vdtii <|»t 



porte 



On le nornmait 

liitiiim' : 
V.nr il jiortidt I'auinur et la via t>n toiit 

lieu. 
Am nair«fii il imrtait tons 1e« okIkih iIo 

])iou. 

id,, v«rs 9& : 

Qael glufie uttend Ma paat ^ual stMe 
U dowando? 

«t v«n 19S: 

...Icur timidc coiupagne 
Etend I'aile et iwurit, n'oiirolo, ot daua 

lea aim 
('herohe a> Uan oiuia ou itm aatnB 

d6»ert(t... 



n 



Dans le memo ordre d'id^uo, U couvicut do zimut|ucr que le 

sw:in)d 'inysttre' de Vi^iy, le D<flu(i€ quil ecrivit cetfee meme anii^ 
1828, conncrv-e h I'l^gord de« Amourt den Angst unc di^pt-ndanct qui 



I"* ^_ 



FEBNAND BALDEKSPERGER 



297 



m^te <letre uotee, mctiie k cAt^ dc culle qui k- rnttAcbe au del 
et Tisrre de Byron. lye renvoi an 6' liiTp de la Genese, qui parlo des 
aoioure dfcs angoa [Kiiir Its filU-a d«a bomuicg. at rutrouvtut datw la 
Prt/ace de Moort-. Emnianiiel pourrait etre le fils d'uD des coupables 
nmaDts dont il avail mcont^ lea anioure; et une certaine analogic 
de mise en sc^ne parall duna le d^but des deux po^nies : 



MiKini, |i. 13: 

ho luoude ttnit <l«ns «a flciu' ;■ loe 
jAoilw brillMutea vrn&ient dc cointnciiccr 
€oun« radieuoe... i« Mrre ^tuJt 

SUl0 ^•i du ciel QUO duuu asa 
9 cnme ot de diSeoIatioii, etc; 



Vigny, T«a 1 du Mvgt : 

Ln tcrrc titAJl rianto et dana mi B«ui' 

prtmicn;... 
Rieji ti'itvttit dftnn Ni fbrmo alt£ru lit 

11 II lure, 
Et de^ tuonU rvgLilien rimnieiia« arolii- 

tocturo 
S'iSIcvnit jtuqii'Aiik d«ui par ses dognSs 

Cc«i dons cc qu'on poun-nit appolur la tonality du d^cor et des 
accesaoires que Vigny t^moigne siirtoiit qu'il a beaucoup retenu do 
sa Ifctun.- de Moore, De fait, il y nviut Iii. jioiir tin (wftte qui avait 
k deptindre uu k sugg^rer lew details d'un inonde traneceLdanl, une ilocu- 
mentation pi-teieuse. Les ' mysterea ' dc lord Bynm, bou» leur fonne 
dramatique. n'offraicnt paa beaiicoup de ressoiirces k cet ^gard. Et il 
fmit bicn rcconnaitre que lEmpyriSc somptucux et hi^rarcbique de 
Milton, ie vaste Ciel d'oratorio ^voqu^ par Klopstock, avaient luoinit 
chance- tie reveillcr, chez lo \'igny de 1823, des «>Taulationfl fecondes 
que \ti coluris brillaut — ut suuveut brillant^ — que Moore avnjt doniM^ k 
ws descriptions paiudisiaquos. On a »oiivent retuarqu^ avec quelle 
peine Vtguy a'est d^faat d'unu certaino prMilecticm pour rafffiteric et la 
faiasas i^l^gancc duns I'exppeiwinn : Ting^niosite^ mani^nk.-, maifigracieiise, 
du barde irloudais ^tait bien propi-e k aatiafaire ces affinitt^-a-Iit, d'autaut 
plus qacllo corrE'(«pondntt k moi-veille aux t^'ndancea d'uuc ^poque qui 
n'avait pas t-neort n''nov4 on mati^re dy langue poi^iique et ipii chorchait 
usBez pi'-nibleim'Ut une tcrminologi*' pmprc k ("xprimor sva r^vea ut ses 
imagination*! d'au-doli, 'Le vague, diaail la Priface ilu tmdncteur des 
Amourji des A'i<je». qtii (nit un des charnips de »« poesit, st^rail k peine 
tol^r^ diiUB uuliv prijse. On a beau planer dans la n^gior dHs fttntdmes 
et des nimgcs. il Taut pour nous que cliAque Stre ait un corps ot cbaquo 
objel un num. En uxpriniant une peus^f, Moore en (iveille mille ; 
il dewino une image, et it en fmt apptiraitre une foule dans le lointain. 
H laisse au lecteur le soin de Ii?a deviner et d'acJiever ses tabk-nur.' 
Cent bien ainsi que se ponait la question de I'iniage ou de lVpithi>te 
suggestive |Jonr cetle peintuie du moiide celeste qnVnlreprifnalt 



298 



Tliomaii Moore et A. dt Viynt/ 



Alfred de Vigny; pnr Ik, bien pltis que \ymr la conorption nu I'agcnce- 
ment du po^me, la Swur des Anges est tributaire des Amours dea Ange8 : 
ct Ri li-s i-mpniiiU OH Ib» r^uiiiuxcuiiu-n sc n'-d iiiM^iit i di-j* t«uch«a 
de couleur, il n'en rente pun moins que la tonalit^ g^n^rale du tableau 
a'en brouvc d^temiin^e. Or&cu k udc quality bion plus haate d'cfiprit 
et d'Atue, grftce h d"autren niinieles infiniinent plus forte, Vigny rehiuiflse 
Rouvent d'un t<in plus funue, acccntuv d'lin trait miuux ccra6 uo dt^tail 
qui a son aaalogiie chez Moore ; et il suf£b de juxttiposer dee examples 
comme ceux-ci pour feirt- valoir Tavantags d'AVoa: 



MiK>re, |i, 34 : 

Dta Vinstant oh je fus appeU* avw lei 
ohenibinn jfour asawteriiu premiern-'veil 
|jriHLaiiii>r il« 1h tinture duns (.t'l s|th6nw 
UnriiMiiiUvi. itw Hwint luinitii-iDtwi qui 
jtulliroiitHUpratuici-MJufllvdorELorW... 



id, I'. 3(1: 

...d« iMuvtMiii itiii'iiil^, lirillaiitA de 
JaooaMO et de l^-&iobeur, semblaient 
s^^ncer du Heio dm t^fehres.., 

...Celui qui vanait d« parcounr t«tt4> 
vsate ^teiidiiK oil i^tinoellvnt dm iikuicIvm 



Viguj, vera 193 : 

Kt M)it loniqite nioii in^tnc, appolMot 

lea eA|triUi, 
D^voiUit sa ^ndeiir ?k Icure Rssfdit 

surprin, 
Et muutmit duns lea deui, foyer de Ia 

usimiiiM, 
Lm profandmin utu aoin il« w tripl* 

pulwuuice. . . 

Et de* Heun qu'ui C^e) »eul ttt gemter 
la nature... 

id^ vent 763 : 

Dm angM an Cbaoa alUieDt puiaer de* 

raondea. 
PsMMiit HTcc terraiir d&ns tch ptaioes 

pnifnndM... 



Hoia uilleui-s, le poete d'Eloa »'en tient jt la qualite nieiue de la 
description «u du lY'vucution iQuU'i par Moore. La liuuiiTu d'Sdc-n, chut 
I'lrn et chez I'autre, est plutdt azur^e mi Diicree que francfaeioent 
^Lttante : une certaine luoUeese astatique «otnblo s'iusinuer dans Icur 
imagiiiotiuii, ct I'un est loin, au miUeu dcs fleure. des fontnines nu sable 
vermeil, des m^t^orea iDdiitinets et des arca-on-ciel HottAota de oen 
paradia on demi-tointes. du Ciel puritain de Milton ct du Ciol 
^vang^lique de Klopstock. Comment les anjfe* n'y prendraient-ila 
pas lo goOt de rnluptes nioins celestes ? Unc sorte dc suave fiiroliti 
n'cn est point bannic. 



J'aTfua \ii tidttro la premifcre femnie, 
rfiimliiwr nu-di'ivtnn d'tflle en I'adaniiil. 



Vijtuy, ran 80 : 

Et tons Ion AngM pure, et toiu 1« 
^^nindn Ardiangm 

AbaiKH^rent leur frntit jiuqu'it ma pMs 
de ucigo... 



I 



I 



I 



J 



FEHNAND UALDUNiJPERUKK 



2d9 



L«fi comMwtUbs m^teoree, dans c« tiniLaiueiit p«u rigide, semblent 
preeque rcmporter &ur Itti etolles fixes : 



Mootv, p. 36 : 



Vignjr, vers 306 : 



. J« 0uivAi« qu«lquoci)iu£t«T07ag«iiee Cbitquo iHoilo oeiublait ixiuiuuii-n utt 
s* OiHgeAnl nu loi» vorx dw points mft^rg ; 

laniinoiu. Et I'Migo ca woiunant au spectacle 

Suiv"it diM j'Qiu Icur vol circulaire ct 



I 



M., p, 72: 

Elle a'^tAJt dvanoute, vutnnie uii 
iBMA)re qui lutt touC-&-ooup sur noa 



idi vor» 5-7: 
Cammo »ii voit Iji comMs ormnte datw 



Utea, el qui tt'^nfuit an uiotu«at o& I'oii Fondre au si>ii) ife Iii ntiit m« rajfrnt- 
em : ' Voj-ob, voyee !...' Rlorieus. 



Le^ deux pontes M serveot dt- la in^me expresskm poor d^igiier 1t^ 
mnuvement des aAtren entrain^s dans k- moiivement de I'univere : 




Moorc^ p. 31V: 



Vigny, rem 144: 



i,...r«ulaDt au mittou dc Chan riv&nto d«ot loa jreux not d^a- 
(le» ctiurt Tivatibi dv taiits prmtigcA! 



M^ji]e Analogie Hjith qu^lqucs-iins des jdux auxquela lea angee se 
Uvreiit avec lt« a^li-es : 



Moora, p. 35: 



Vigiijr, VBM 577 : 



nurniK t>o!r«C mntiiilwlitjiim l)ii ctuu* dan lutnm puni j'otMcurcis lea 
qui ft'^uiidniit i-iiiiiuitt t\*» etwieui, 

j'or «iitre leu uUiilco ot le Huleil, Je voilai letin rH^oiiti ixiur uttiror fHf 
ddtiant Uhik ues Mjfon» de lumi^re... yeui... 






Sur terre, ou ji U DUrlace du cliauu, rAdmit di>H ft-ux futletu semblnbloe : 



Moore, p. £3 : 



,..h» fcui lividcs qui mtupont a Is 
surface de U bcrre &n que Ic jour n 
dispnru 



Vignj, vera SOS (ot wn 471): 

Mais dlo y vit bieoUjt d<w feux emnU 

ot blouH 
Tola que den fniitU mnntia lc« ^tain 

cuidtileiui. 



■ H. Sohvllx-Oon, un. eiti. p. 'tf^, rapportc Im 'tiliare vlrants' 4* VlgBf k dw 
fUMfM nlltondMW fort |ieu nonvnlnoanto. C't»l )(• lieu d» eijinslcr <|a«l^iin anvia 
(|ti*ai^*Ile ion trarail. L'luduenoe d« Htaven and Earth •ui le iMluitt di- vlxnv Bvait M 
iuiiqu^ I'lDTMB^mciu |iat M. £. Diipuj.iirl.dU.p.40a (daus lai/ruruMr iti-t itunbrniifua, 
p. 9£a}i 11. SobulU-Oom (p. 381) a lu jrcnM-L- rf.ttn/ralrict oil U. Dupii;)' Avnil toft 

ii«6e gtnirnlritt, co (|ui qUmii^v ovoniblcuitiit la UiOte; \itt (|>. i03) VI au lieu ilu V poiu 

WOOQila indicatioa da I'artuHt prritii. 




A 



300 



Thomas Moore et A. tie ^if/ny 



Xoiu voici dans utie partie de la cr^tion plus accessible «t inieux 
eonnuc; nombrc d(^ details qui lui sont nttribiu^ se retrourent chez 

lea deux pontes. La mnsique siir la iner : 

Vigay, van 61& : 



Moore, p. 78 : 

Ce fut pendiuit le cri^uticala du bmt, 
mr la rivag« de la topr trantjiiiUo, qu'U 
■DUndJt |)our In iintmiJHv tcnn l<w m>n* 
du Inth et h, vnix de cciUn qu'il Ainu 

La jeune <^pou&e : 

Moore, p, 18 ; 

...cuintne In juutie iI^ioum qui nc 
penohe aur 1« Iraid du lit »u|jtial.., 

Le ver luisuit: 

Moote, p. 6S : 

Lit luini^n- qtut In vfir luimuC suspuiu) 
la nuit aux liraiicbew dea arfaraa,.. 

Iios amours des Heuni : 

Moore, p. 63 : 

...la rcMe, cantiante et Hans toche. qtii 
a refii taiite U nuit lea baisors de la 
moucbe do foul 



Le aeipent-oiselcur : 

Uoorc, p. 14 : 

...wmblable h roiHMii qui abuudoDiiQ 
win nfd 6\.i!v6, tutcini par dw yeus 
i*i5duoteurii... 



Les diamaiitN daiw rubeGLirit^ : 
Moorci, p. fil : 

...le» diatoartta, sembUbles a des yeax 



Et U mer qoand sea flota ap[KirteDt 

sur In grvve 
LoK uhaiitit du mnr sui |>ieda du 

voyagour i|ai rOrc... 



Vigay, yen B8 : 

Kite iiiarahc \tm Xheu ixniiiik ui)« 
i^puiiM ati temple... 



Yigny, vera 409: 

Iji! t'«ruii«MUiu ruluit ; soil front (l« 

(liauMTit 
Biip^tc aupr^K de* fleur* le* feux du 

fimiajiient... 



Vigny, vora 436 : 

Comme h jiapillou, aur stM ailen poa- 

dniiUKK, 
Porte uux gaxoaa timuit den iwupliuleft 

de fleun 
Kt leiir fait dexi amoun aaitH p^U et 

maiH pleiiTR. 

Vigny, vent SU ; 

L«iM]ri>ontM-(>iiwl«un< qu'ellcH jMumuent 
oaober. 

et ven 4SA : 
SouN l'4oUir d'lm rtgud «a force fiit 

briM^; 
Et d&« qii'll vit ployer son aOe tnol- 

trisM^o, 
L'eniiemi suducteup'.,. 



Tigny, vera S35 ; 

Ainai la dianuuit luit «u niillcii 

ombroa. 
L'arclutnge B'cn eftaie, et Booa mm 

cbevoiis boiabrOT 
Clioruhe uu ^paiu refuge a wk y«iu 

^blouia... 

■ II 6KUlnoter<]neIe|»SHUKd'<Ilatd<)n!— la r>?manj mr rm n </tA irouvnni faiu — a founti 
la pJujiart da bom dilaUa k VipivtAe du oallbri <ii>N I'l^i uU-h. mnniioiinc Itr Kn^nt-oiMilBur 
mnii le iDoiitrer diUM I'exttroiee de M)n poavuii Ae fiLSoiuatioD, 



?|ui brillcnt au luiticti dex trnJilHr^A, 
lu'eut surprJM Aant leiir rot.ruito ob- 
ocuit). , , 



^ 



FERNAND BALDEN8PEB0ER 



301 



■- La jeunc 6toile — cette ^pith^be de jettiM e&t aesez particuliere : 



MiKire, ]>. 48 : 



Vigny, vvn MS : 



Lc8 Duageu d'ttiitoiiiiic qui retieiiiieiit Toi mule lu'tippania comiae luie j«uiie 
lem Plaits prCU k H'^-hu|>per dc leunt ^toile 

floticH, pour laiMter brilliM- iine jemui Qtii dc la vute nuit perce fl I'jcart la 
^Unlc, voile 

(Cf deux ' jeunoa pl&n6tcB' au v«ib tiZ.) 

Vn autre detail est un souvenir dii Faradis et la P4n: 

Moor^ WMH 187: Viguj, vers 805: 

Ccs lis viergsH qui baignemt toato la Sou braa, comme un lis blonc mir le Inc 
nuil leuT beauty dans le lac... suspendu... 

Tl st'rait jMifisible dn eontinuer c^r miiprochemontM. Qiii>lqiiP8 
d^tiiiln d'un nrientalisiut! tu^nez choqujint duus Eloa — les ' Divniu oil 
dort l» molle Atiie' et toute cette atttbtidi; de jeiiiie tiatrape de TangB 
d^hu (vers 353 et siiivants), la blanche tour d'AIep et sa gwltano 
impr^Tite (v. 420) — ont peut-fitrp leur origine datw rexotisiut? de Lalta- 
Rookii. niuins L-clatant et plus iutflDuaiit que celui de B_yron. V'iguy, 
qui a toiijimrs eii, pour les effets de lumifere contrari^ et d'onibre 
trnnsparL*ntt, ime prMilectiun doiit t^iiioigneiit presi|ue Uhim leg 
labienux lumliieux de sun (Uuvre, tnmvait tin coloriste k sa guise dans 
le po^te des Amourg des Anyes: Moore ne pousse-t-il pas le mffine- 
mtint ju«((ju'ii I'baucher ' I'arc-en-cial fonoe |»Hr ta huie ' ! C'twt por Ik, 
par cette delicatesse mani^r^ dans le colons, qii'il a dl^ squire le jeuno 
oflRcier k la peiw^e ni gmve qui devait eoDBerv«r lougtenipe encore^ 
tnalgre toutes les hardiesses de sa ni^litation, le gofit un peu tni^vre 
du 'joli' et de ringeiiieiix daiut I'expreiwion. 

Fernakd Baldenkprroer. 



M. L. R. 



so 



DAXTE IN RELATION TO THE SPORT'S AND 
PASTIMES OF HIS AGE. 



II. 



The Race for the ' pAua' 



Of all Italian sports in and after Dante*s Age the most uni 
and characteristic ivua the rucing tor the pulio. This was a loug gtnp. 
nr noiuetimes two strips laced together, of valuable doth, silk or rich 
brocade, resombling lu ahupu \\w biiniiem now iim>(] at school feasto and 
in the processions of btmcfit sooii^tipa. The chief uses of these honncri 
were two, ojid it will be seen that tliey had some connection. Firstly, fl 
they were ca.rTied in procession ami jjreaentetl annual!/ to a ruling city 
on the groat muuicipul festival by subji.-ct coiuniunus or noble feutja- 
torics a» u I'ecognition of her sovereignty. Thereafter they were hung 
in the principiil church. Thus at Florence S. Giovannis was hang 
round with palii. Secondly, they were suspended on poles and hointed 
at the winning-post of mce-conraeH lus the finst priie. Hence the paUo 
came to mean the race itself, much a& we use the phniscs Ascot Gap nr 
Middle Park Plate. To give an example. Just an the War of the 
Ijcague of Cambray was breaking nut, young Luigi da Porto wrote 
from Vicenzft to his uncle in the Friuli, 'If 1 don't send my Barborj- 
horse to riin the pulio at Udine this St George's day, it is l>ecau«e I 
think that throughout all the Venetian territory there is bound to bo 
something else to do this y«&r than running the usual palii.' So 
universal were the«o two practices that the manufacture of palii woa 
quite an important industrj-, e.tj. at Venice, and the prices paid for the 
race prizes were, even according to the ejirlior statutes, very high, and 
then continually rose, Thuit the fniio of Piaconza, which in 1372 was 
won by Bemalw> Visiconti's horao, had for three years past cost 112 goW 
ducatti, whereas in teinporihua retroaclis the value waa 1,5 (CAron, J^lac 
Agattari, p. 50). 



EDWARD AllMSTRONG 



303 



In the second half of the fourteenth century and in the fifteenth the 
chief race meetings were evontA ar fii^hionable as they were iu Kii^Iand 
in the nineteenth. Horses were sent frum all over Itnly.iuid no prince's 
or great nobleman'R estnblishnicnt was complete without its Htud. 
There were profesKionul training sljibles kept soraodmes by the les^r 
memberH of well-known families. The couipaniwi of Pico ilclla Mimn- 
dola's voluntary or invohmtarj' BlojM'tnent was the wife of a Medici, a 
horse- trainer at Arezzo. which no doubt aL-eounted for thv skill with 
which she leajit on the croup of the nttmctive philosophers horse, We 
ltn<TW for certain that immediately after Dante's death to win the palio 
was the amtiiliun of the most pruniiiient bloiwia of Lcitnbaniy. Tliat of 
Milan was carried off in 1339 by Bruzio Visconti. [jodesti of Lodi. the 
handsome gallant b(witanl of Luchiuo ViBconti, and It cost 40 gold 
florins — at leHJ*t £llifl in modem values. Twice afterwardH the Kame 
prize fell bo hioa, and bis stable waa equally succeiwful at other 
meetings. 

I have found noticcH of thrac races throughout Northern and 
Central Italy, from Vercelli to Udlne. from Milan to Rome. Never- 
thcleim their origin is totally obscure. Mumtori (DissertatUnj. xxix.) 
could not trace it beyond the thirt*ieuth century. Yet it is improbable 
that it then had a mushroom growth all over Italy. The absence of 
earlier mention may be accountt^il for by the balder and mum fomial 
character of ihe cbrouiclea. and more particularly by the absence of 
codified statutes, our best authority, for which the cloMHical age is the 
latter part of llie century. Tbe earliest notice is, I believe, that recently 
quoted In Mr Hej-wood's I'alio and Ptmte. from the Libri tie' preturt of 
Siena, when in 12y*i, tbe loser of the race — cc/iri cht perde m iJante's 
pbmae — was heavily fined for refusing to cany his consolation prise 
publicly into thn city, This chance notice carries liack this curioiia 
custom, to which I shall ugaiii refer hereafter, quite as a matter of 
course beyond any mention of the palio in chronicle oc statute. Not 
far behind, however, are the Statutes uf Bologna, of 1250, which provide 
for a change in the course for the palio of S. Pietru, the existing ono 
being too short, and imronveiiient (Stuttiti del Ctnnune di liolotjua, ed. 
Fmti. IL 128). Very old also was the palio of S. Bartholomew at 
Bologna, which is said t" have originated in 1249, and of which tbora 
is documentary evidence iu l^filf (ibid. 2J)). 

It is possible that the races were intrudiiced from the East or from 
Africa daring the Cni.-siiding period, hut I can find no evidence for this. 
The borses certainly seem tu have hod Arab blood The term B{trberi 

20—2 




304 Dante in relation to the Sports and Pastimes o/kis Age 



i.K Nii<I in Delia Crimea to have bBen conBned Rxclutnvoly to honiea rao 
for the palio. This is the word used ia Da Porlo's letter already 
quoted, xfViXv. thi- ki'gp pictiin-st of the Diike of Ferrara's homes in tho 
Schifaiiuift Pttlat-e supply evidence of half a centiirv earlier. 

The older races wen- invariably connected with a reiigiotis (estiva], 
aiid were often named after Lhe palroti «unt of the city. e.g. after 
S. Euaehius at Vercelli, after S. Syrns at Pavia. and yet another race 
aiWr S. Potronius ut Bologna. S. Muit of August was, howewr. tbe 
tuoBt usnal public holiday. To the present day the horses are West 
and sprinkled with Imly water in Church before the race, for which 
ceremony there i» a special office with prayeif* for their preservation 
from all hanii. Mr Heywood believes this practice at 8ieua to be not 
earlier than t-he eighteenth centun,', but its alleged eitisteDce in small 
TuKCQu tuwrik-td, where life is extnrmdy conaervatire, may point to 
longer ciiatom. Tho races were not only an essential feature of ■ 
religioiiH but of a piitriutic f<»ftival, for l.h<'y were usually founded in 
honour of a national deliverance or victory. Thuit at Padna the race 
celebrated the death nfEccclino da Rnmann. The Florentine legend is 
UM instructive as it is false — thnt the pidio and the Church of S, Rem- 
nita were both fimndcd in honour of Stilicho's victory over the Qoths. 
The pitlio of H. Barnalwis difi actually commemorate Campaldino. that 
of S. Anne the expulsion of the Dulte of Athens, that of S. Victor a fl 
defeat of the Piaaiw in ISG-k The Sienese honoured the exorcism of 
demons by S. Aiubrogio Sansedoni. and siuiihuly the overthn)w of the 
foction of tJie Twelve and the Milanese protectomt-e after Oian Galeazzo ■ 
Vifconti's death. The defent of Bemabii Visconti at S. Ruttillo in 1361 
Wrts the excuse for yet another meeting at Bologna, for which the prize 
wa« a polio of striped velvet with the Saint's picture on the peimoo 
which sometimes surmount* the banner (L. Frati, Vita privata rfi 
ItoUitfna. p. 161). Connected with these sporting displays of jiatnotism 
or party-feeling was the custom of running the palio outside ao enemy's 
town when its troops had been driven within the walls. At the same 
time it was umml to coin gold money. Thia latter was a s;^-mbol of 
sovereignty, and it is possible that the palio was aIhv regarded as a 
proof of occupation. An interesting early statute at Parma orders that 
i£ the PodcstA. should be away with the anny on the stated day for the 
national imlio. it nhould be run wherever he. the representative of tbe 
state, and the army, that is the nation in arms, should chonoo to be. 
This, no doubt, was also the meaning of the palio run by the Floren- 
tines oatado Arezzo on S. Oiovaoni's day in 22$9, which ia utttm ojto- 



I 



EDWARD ARMSTRONG 



SOS 



oeoualy deitcrilwd aa the origin of the race. But in Italy jent and 
eariii«t go in pairs, and in this practice there was an element of jibe, as 
when lit Arezza in 1335 the Ppragiiins gave n palto for n jimstitiites* 
race. Earlier than this, in \li25. the Floit-ntiueK hud siiffiTod a similar 
iuxult fruin Castruccio CtistfacaiK.-, who on S. Francis's day gave tliree 
f)alu for hoi-ses. men. and proHtitiitps outside the city from the Ponte 
ftUe Motfise to Perelwla (Villani. ix.>. Yet, as will be seen hereafter, 
this was merely the extension of not iincommnn riome.stic cUBtoms to 
the national army in the field. Theae very Atalantas of the camp wore 
mi novices on the truck: they hud rcccivi-d their training un the recrcyi- 
tion grounds or through the streets of their native cities. Regarded, 
however, merely as a jibe, these patriotic indincxetions would full into 
line with the hanging uf asses with iha names of the enemy's most 
eminent citizens mnnd their necks: nt An-jato, indeed, on another occa- 
ejon, the poor donkey's head was crowned with thw mitre of the fighting 
bishop of the city. Also in 1325 the two aspects of this custom, the 
patriotic and the oppmbnuus. are illuslmled at Bologna, which woh 
besieged by the Cremonece, Mantnans, and Modenese : each st^te ran 
itfi ftatia 'ad teternani meuioriaiii prunuisBuniui, et i])»i>rum Bononcn- 
sium scandahim et opprobrium.' Hercauibi of Lucca has an inktresting 
jMis-sage in this connection. The Florentines in 1357 were be-iiieging 
Pisa, of whicJi Lucca wils a somewhat forced ally. They ran fchn^e ptitii 
outside the city, and thif^ is the chronicler's comment: — 'The Commune 
of Lucra in itn [njwer ordained the running of theae thn>p palii in sign 
of victoiy. And therefore the Commune of Florence ought not to wish 
by way of Kcurn to have these mces nui which tlie Commune of Lucca 
annually held by way of exaltation. And in this Florence showed little 
love towards Lucca' (SercAmhi, I. 116). Sercambi gives tis probably 
the first two pictures of this opprobrious racings-one of the Piaaus out- 
side Florence (I. 122), the other i»f the Florentines outaide Pisa (I. 125). 
The hordes are .-i^eeu racing towards the paliu. which is held uluft. on a 
statTat the goal. 

The banner which formed the first prize for theae races was always 
of some bhatle of red, ao that correre U scurteto woa almost aa conimou a 
phraee as cwrere il patio. This, for instance, occurs in the thirteenth 
eentui^' Paduan Statute, and m too at Parma in 1324 the i-econcilintion 
of the factions of Eossi and Corrigeschi took place vn the race-cours«, 
'quando currobatur scarlattus extra portam Novam d« menso Augusti 

ft«t« beata" Maria.'." .Sonietimi-s the priz<- was fortified by a more 
eriaJ gift, oh at Fen-oi'a and Bologna by a horse. The second and 



306 XkitUe in relation to the Sjtorta and Pastimeg of his Age 

Lbird prizes {five more acupt- for imiigtnatiun : they included hawks, 
honndu, pftira of gloves or spurs, cocks with or without cages. Backing 
pigs, UiuQ^ uwIh, Fuid Riib iincummonly j^oe.% with a sympathetic btinch 
of garlic suggestive of their ooiaiog fate. The wIiiiilt of the last prise 
was something of a butt, though in the thirteenth century atatiites. e.g. 
at Vercmfi aod Padua, precautiona weix- taken that the hurst-s must be 
thui-oughly sound and of considerable value. The cdtii che perde was 
often required, as hu beon seen at Siena, to carry hiH trophy attached 
to his htH-se into the city. 

It has been hinted that not only horsiw raced. At Pisa boat-racing 
was in Vf>guc aa early as the thirteenth century, and the head of the 
river received ao ox with scarlet houaing». The thoroughly Dautewjuo 
date, 1300, marke the iant notice of the far-famed Venetian regattas. 
There were olao races in aevoral towns for men, women, donkeys, and 
Jews, the latter at all events in Rome under the patronage of Paul IT, 
while in 14.90 Jews ran from the Campo de' Fiori to the Piazza of 
S. Peter, where the winuing Hebrew received a red cloth patio in the 
gracious presence of Alexander VI. — himaelf dubbed Maxano. Races 
for men are meiitioaod at FerraTft, Verona, Brescia. Piso, and Lucca, 
and were probably universal. Those of women and donkeys added a 
coarsv, coniic zest, thoroughly Italian, to the solemn religious patriotic 
feetivala. Yet they were not uncriticised. At Brescia, time after time, 
the authorities. especiRlIy in periods of religious revival, strove to 
suppress the wcimen's nw;ea as demoraliBing and irreverent, but they 
were what the lower claitses really car«d for, and conservative or orjfu- 
mcntntive people tirged that it was a goiui ineann nf distingTiishing 
disreputable from reputable womankind. At Brt^'Jicia, it may jtist be 
noticed that the prixe fnr the hofse-race was of scarlut uf England, that 
for men of drnpp} cerde, and that for girls of blue : at Ft-rrara the 
panno verde was the prize for boyn. The dtmkeyu must be wintent 
with linen or canvas palii. ITie vety curious fresco in the Schifanoia 
Pttlftce shows horses, mares, ilonkeys, men aud women all racing one 
behind the other, while Borso d' Este and his Court look on. Donkey- 
riders, then OS now, sat on the nethennunt end of their mounts;. 

The best early account of races perha[)s occurs in the De taudibiu 
Pavim, written about 1330, but describing customs of long standing. 
On the fiiURt of the TranKktiun of S. Synis the horaes ran very early in 
the rooming on a lofig course outside the city for a silken or gold- 
embroidered patio, a roaal sucking pig and a live white ciick. After 
luDchj varlets and women ran in another place for salt and fresh meat. 



I 
I 



I 




EOWABD ARMSTRONG 



307 



I 



I 



writ'cr givi;8 ihc only oct-oiint with which I am ncquaioted of the 
ultimate destination of the palio. The winner oftcrod it to S. S)tU8, or 
any other Church, or did what he tikod with it. 

If Paul II. enjoyed the rnces dnwn the Corso at Rome, his pre- 
decessor, Pius II., oneouFng«d thoiii in his little native- hill-town of 
Cor^ignano, and has left, a most graphics d(>Hcri|iti«n in his (fommeiiUiriea 
(Book IX. p. *33, ed. of 1584). The people here had always held rticcH 
on S. Matthias's Day, but the ceremony of the opening uf Pins Il.'s new 
Cathedral and the siirroundiog group of buildings, domestic and niuni- 

il, was eelebrated with iiniisiial splendour at his expense. A fair 
held in booths outsidt* the town, wliule ukl'ii straight from the 
plough were r«iasted, and then towards evening came the mcea. "Die 
horses were as»ignt'd their stntions, the signal given for the start, but 
'ine<)uality of speed and an uncontested victoiy rendered the sjiectacle 
somewhat poor,* the horse of one Alexander leaving the field nowhere. 
The donltL-j-H, however, mn/lc amends by their spirited cumpulitiun, for 
under the stiiniihis of a shower of blows first one and then the other 
forged ahead. So als«) the races for men and boys on the chalky soil 
greased by rain eansed much excitement and annusement, for none 
could keep their feet, the last frrqiifntty biicomc firat, and the naked 
rmuieni coaled with iiiml bectmie uiuefogmaablc by their backers. The 
feature of the meeting was the race for small boys who ran round the 
course tn the city gate, sticking and Btumbling. losing their wind &nd 
getting up again, while their parents and brothers shouted cxbortatioos. 
Victory wavered between several to the very liuit. 'Ilio siiccoas of young 
PiuiiKis was di-si-rvedly populiu-: he wiis carried shoulder-high to his 
home to the great delight of all his quarter. If Dante had only been 
as human ns JijOt^m SylviuH, how much more social history his admiren 
would have knu>wn ' 

The finut actual description of the palio in veise belongs to the early 
years of the quattrocento : the poem gives an elaborate account of the 
festival of S. Giovanni. The unknown poet celebrates the carroccio 
drawn by horsee draped in red and whitt, with the manoccc at each 
corner — and then he writes: 



Mel niuzjMf ul oarrtf i fitt« tin lUtu ittile, 

Uvv' h 11 palio eeutile 

E tutu> 8t«Bo, m color Y<iriui{liu, 

£ 'a sa In ciiu& d' oro h pusto aa giglio... 

[ onnier spDEM riMta 

Piiroii cvndotti poi a rontiut' onH 

Che, iwr giungtn; «d ons 



308 D<tni€ ill ivlation to the Sports and Pastimes of his Age 

QdaI grids, quale iftf&rxa, ijiuil men nicno 
A qiul 81 romiM? il freno. 
Ftire kIIa tin ]' ebbe quel di F«iTftnt 
TVaworTctid" ciAHCitr \kt Iotta » R<un. 

E. Levi, hirioa tlaiusint, |i. 48. 

This poem provides one proof aiiioog several that iii the earlif 
niccH tho hon^us were ridduti, a» now at Siena, by jockc^it, rofffjaetirti naj 
ihoy were called in the fDiirteetit.h century. In later days ridcrluHaJ 
raoea w«re far more common. Those at Kome down the Corso. whickj 
men still living may remctubcr. ore said to have heca originAti-d 
^iil U., by who«o palace. th(? Palazzo VcDCzia, wa» the j^oal. Bui the 
drawings of Sercombi of t-hc fourteonth ccntiirj'. the frci^icos of the 
Schifanoia Palace, and an illumination of Baeinio Parmenae's .^rgowiuts, 
1454 (engraved in Yriarto's Rimini), show jockoys riding thoir horsM 
bare-backed. In the Intter they are seen racing through the towuj 
gate towards the front of .Sigismiind Malntesta'e Tempio- ^ 

Here then, setting ajiide the races for women and donkeys, we have 
a moro or lr«3 dignified fomi of sport, ivhich in each city was the groat 
event of the yeiir, which was institnted in honour of »omi> notable 
victory, paid lor by gr>vemment, and associated with th« nanae of the 
chief civic nainte. A ciistmn bo tmiverwd, combining elements of r^li 
gion, of national pridw aud scorn, could scarcely jmuw wholly unnotic 
by Dante, if he were really to tell the story of his age. Year by y< 
he inUHt have seen thewt races in Florence or without. He d< 
indeed, make no less than four distinct references to the patio. In 
previouH pajwr I called attention tfi Dante's ap]mrent lack of intoreet if 
the horse. It is noticeable that in none of these fuTir iia-isages doe« hol 
directly refcr to horses as being engaged in the racos, while throe bear" 
exclusively on the far Ipss im\wrXant foot-moes. The Jinit and sMghteat 
reference is in Cmiinto, iv. 22, where in quoting Corinthians i. 9, he 
transktea Qui in stadio ci*f)t/»( by Che Cfrront) al patio. This is 
iinjinrtjint so fiir lus showing that the very idea of a race was by Dante's 
time insepambly connected with the palio. Otherwiite the pasnage i» 
disappointing, heciiiise in enlarging on hia text he describes, not the 
coni[)etilion tA' runnt-i-B upon ;i single track, but the competition trf 
tracks, only one of which leads tu the right goal. The use of ib 
simile is. It must be confessed, singularly cIuiiiHy and inept. 

More apposite te our purpose is itie passage tn De Mouarcbia, iij 
§g 8 — 9, where Dante speaks of diHerent nations cither fighting 
racing fnr the prize of Empire: of the latter contest he wi-ites — 'sicufi 
fit per pugnan) athletonim ciirrpntinin ad bruviitm,' which Ficii 



EUWARI) AtUMSTKONG 



30» 



translates ' come avviene a qnelli atloti chu con-ono al pulio.' Bravium 

and palltKin were, indeed, enxployed as synonyma. e.^. in the Statutes 

of \'«rc<lli, 'OiYlitiatum e«l quod unum paliiini sive brnvinm sufficiens 

et idoneum et omnia alia pertinentia dicto pulio ementiir per comuue 

Vorcollanim.' Then after referring to the Dwe of AtolnntA in Ovid's 

Metamor^i06tii, x., Dante quotes Cicero. De Officiia, ' Qui stadium 

currit ouiti et contendere debot, quaiii maximc possit ut ^incnt : sup- 

plaiitare eiiin, (jiiiciim certHt, iiiillo niudo debet' — transliited by Ficino, 

'Chi com ftl pftlio deve sffivzarsi qiinnto piii pni> di vincere, ma dare 

gatnbetto a colui die eon lui combatU; non debbe.' This aWi^nce of 

fouling 18 here stated as the essential distinction between fighting and 

meing. The modem race for the patio at Siena i» uqb contiimouB foul, 

and a foretaste of Che pmctice is fuund in thi* nioro comic ract^s even in 

the fourteenth Bentiin*. But in purer times and more swrioiui racing it 

is «temly forbidden by the statntes of several cities, for instance that of 

Florence on tho polio of S. Reparata, 'et nulluK ciiraonim ips»s seu 

eonim eqiios. nee i]>Bi cursores inter se impedire dcbeaul.' and n similar 

statute npjjlies tt» the race nn S. Bnrnabni^'H day. 

We now come to the two references to meing whieh have a distinct 

local interest. In Pamdixo, xvi. 40, Cacciagiiida says :-• 

Oli antiohi mi^i «J io nncqiii nel Incv 
Uova fti Irovft ppin I' uitinio wvrtii 
Da quel chf- c«rm il vuttro nnnitjtl gioco. 

' My nncestons luid I were bom in the ptocu where the last of the 

six districts is first reached by him who nina in your annual »[H)rt.' 

This site is known lo havn been uwar the junction of thf Muraito 

Veicchio and the Corso, pn^bably the angle of the Via SpcKiali and the 

Via Calzaioli. Here Dante given o real piece of inforniution, fur the 

Statute only prescribes the course through the Borgo Ognissaiiti and 

the Via della Vjgua; — 'PaUuiasivc bn»viuiu pmdictum curratur.-.per 

burgum Orawum Sanctorum el per viam della Vigna et alicunde non.' 

Pantc therefore marks it a stage farther on, on the further side, that i$, 

of the Mercato Vecchio, on the way towards the Coi-so and the Porta S. 

Piero which was the goal, for the anonymous poem already quoted 

states definitely that the race was run from the Pmto on the west to 

this gate. 

And now at last we rcaeh the most distinct of all Daute's alhtsious 

to sport: — 

Poi ai rivolae, e mutc di uoloro 
Obe tuTTtiuo a Vcrviiu 'I dnii>|io veidu 
Ptr \n Cttoipttgim : c jjan-e Ji cu)ttvr<> 
<)u^li cbo Tincft, u oon colui cbe porde. Itt/. xr. 131. 



310 Dante in relation to the Sports ajid Pastitnes of his Aye 

In t.his esse thp Fiorcniine poet iintl the Veroneae Statutes snpple- 
munt each other. Mait fortunately the stntiite, the celebrated AJbcr- 
tins, compiled betwvon 1271 antl 1278, under the provimoos of which 
the Veronese rapes wnre run in Dantt-'s time, still exists, as does the 
next issue of Can Grande in 1323. It seems worth while to quote the 
text ns bearing so directly upon Dante's lines and the sport from which 
he draws his graphic illustration*: — 

Ad hoDoreni dn ]«tris omtn[nt«utiB filii ei nnrito* nncti et g\<moam beMo 
Vinrinia M&riic ct bonti Zciii>riis cujiM |nlrodnio gaudMmu ol m1 fauDorBui et 
Ictitiiuii vt txiiiitm HtiiLiiiii |iitrti» re)[iriitt.t ^'Rroittini (iii» mt conitniinc Vvruiue el 
cm ill Miiriiluruiu mrcuU Dco (IaiiU> .ttattiimiiA el iirdiiiHiiiiiM i^iukI iH>l<uitAM con* 
tnutiiw Verone tetieittiu- quolibet anno in die iloitiinica. tucitu pkipuli innere KU 
poni Ciu.-ere pm couiiuunt VoroiMB duo bravia iu loco abi uttlitu ei vid«bitur. 
Ad iiuum quorum currAtur equarter ad nlUmim cumttur pedestvr et itbid ad 
qUiMi curn>nl »d «!i\iutn Mt uniim paliuia «t tinA IkiAu do n'tn licitutu sit uuilibt>t 
accijierB «t. |inui> nirn^iiLL ilvtitr ]Mliiini Kt iiltiiiin ciirnniti dvtiir Uifln lU* i)tM 
licitum tit ciiililx't innilere et tullere [umU|i1(«iii ouriuim liutniRrit «(l eolluin Hiui 
li^tauL Atiud rcro ad quod curratur od peden nit uiiuiii piilitua ot uuus 
gallua qua poUni portAre debeat tuque in civitatcui. Ad qiuB bravta nun ilaboat 
Aliquis viirrere cum aliqua ectua qw) etosm cum atiquo oquo quod (tie) odd sit 
iiit«gBr amnibtiit suin iiMtnlins ot potaataa habmt lilwrum ■rintrium in ordiua- 
tioiio Vwtuniirijiu [KniRiidunim drca outmtitutioaoin vt imliiiAtiunein diuli ludi et 
Inlidn) lu liiH^iiiiit viderrtur Uie) utilta circN en ei in |iiiiiiaitd(i qiKiuliUA fnclisiteiu 
Mnitm ciR quit- [wr poUuiialeiti iu prddiotis ct circs {tTcdiota fiwrint oKdiuata noo 
obHbuito aliqiio ^tatiito ^euerali vel vpeciali lu coutrarium loquenti qiue omnia 
pnewdti atatuto aiul pcuitus abrogata. Et jwttwtiia t«oeatur eiolaman Ctcere yw 
dvitatom «t buivos uuo mense ante jirodictum Uiruitiiani quod quilibet Towns 
miTTere ad diota teana aeu curri facora deb«st se porari ad prMicta. 

In thix Ktatuto it is notic<«able that nothing Ls said of the colour of 
either of the palii. which is unusual : nor is there any hint as to a 
definite racu-cuurse, for this is left to the pleasure of the Podesta. The 
fiirmer deficiency is mipplied by the next tttatute, that of Can Grande 
in 1.123, for after the words duo bravta is the addition unum de satrUto 
et aliud de panno viridi. Here then is Duute's drappo verde, which by 
a few yeant anticipates the information given in the statutes. His 
lines r]»o help iia Hcttle a long controventy nit tu the customary courae; 
The ract-s in later days werv unquestionably run through the streets of 
Verona, and it him bt'cn argiiuil that this was the immemorial coungc. 
and in accordance with the iwunl practice at other citiea. It m certain, 
however, that at Siena the nice through the city was later, and that at 
Piinua and Pavia the ntntut-ahle course was a stadium outside the town. 
The two Htatuius of Verona imply that the courae was externa], for the 
loser, colui cfm perde, had to carry his consolation prize uaque in civt- 

' Since ooR7inR ibe statnto rrom tba Tit. ot the Albortina at Verona I bav* fooBd thai 
lliii. loptket niUi ttie Stalotea of Can Grande and Oian Oaleaiio Vitconti ralatlnit to the 
mIw), were printeil bj Oaeuino da Re. I irt primi Sinluli tvlle evrt* de' Palil dl Verona, 
m the now iLrfunot Itivitia critica Jtiiu UUrmlant itabnita, vii. W— ^7> 



EDWARD ARMSTRONa 



311 



tatem. Dante clinches the mjitter by definitely stating that the foofc- 
racti ab nil events was rnn in campo, the meadowH oiitFsicli' the city. In 
these respects then, and in his precidt- notice of a point in the Floren- 
tine race-course. Danto has actually ctinlribute*! tn our knowledge of 
conteiupomry sjiort. Ajiart from this wi; nhould know as much had he 
never piit ]H-n to paper. Is it possible to accrmnt for our disapiwint- 
meDb, for his almo«it complete Hilencoon the jMstimt^i of hU countrymen, 
when on all else he "was ho t-loqiienl 'i It tuay be dne in part to hia 
character, schi/a e disdeffHoao a guisa di mat Jilomfo, ati Viilani com- 
plained (IX. ch. ISt)). He had little Hympathy with the pleasurea of his 
fellow-gentry, Ie«8 with those of the vnlgar. Hi« mind waa too serious 
for sport, too indignant for arnusement. But this is not nearly all. 
Such amnwiinents wort' ton quotidian to find mention in graver*nriteiB, 
id even in those of lighter vein they only intrude by accident. It 
may Ix- suggt-Mted moreover that in the literature of most ag^ there ia 
a gap in narrative poetry, that the Uiste for narrative ia eithor ecrly or 
conipiirutively late, find it is of course narrative that offers the boat 
opporttinity for the setting out of prominent customa. In such a gap 
X)aDte wrote, for in spite of appearance he is not really narrative, and, 
when the taste for narrative revived, he retired for the nonce to limbo. 
Afl*-r all in modern England football absorbs moPc of the thought of the 
lower claaaes and golf of the higher than any one other subject gmve or 
gay. Yet thoy will leave little mark upon our literature, save for an 
obecure line of Mr Rudyanl Kipling's. Our inquisitive successors will 
be OS much at &ult as to our amusement^ as we find ountelven when 
we mnsack DantB. He tella ua little of sport in his poetry or prose, 
mainly because tho poets and prose-writers of all agt-s rarely tell 
posterity what at the moment it n-ants to know. 

E. AKM.STR0MO. 



THE KNOWLEDGE OF SHAKESPEARE ON THE 
CONTINENT AT THE BEGINNING OF THE 
EIGHTEENTH CENTURY. 



TuE qut-'stiua of coQtineutal interest in Sliakvspeare during (he 
period immediately prpceding the publJcntion of Voltaire's Lettrei 
phUosopkiqiteg, wax discussed, for Ocrmwiy, by R Geu^ iu his valuable 
Shakegpear^ in Deuixchland moro thnn thirty years ago; for France 
more recently by J. J. JuHwmnd'. My object iii the fcilluwing uotwt is 
to add Dome facts to the evidence alrendy collected, niid to indicate the 
relationii in which several of ihe iteiiu stand to their Engliidi muicK 
and to each other. 

The earliest mention of the name Shakespeai'e in a book printed 
on the continent, m to be found in thy Vnlerridil ruw (ler Tentuchen 
Sprache und Pomrie, published at Kiel in 1682 by the Etmous 
' Polybistor,' Daniel Oeorg Morhof : 

Tn John Dr^en in ^ac »ell eicljfiTi vm In DnmatitA Poeai ^riArittm. !Dir 
On^dldiien Bif ft ^wiiii anfilbtl, f(in shftkBafjetwv, Hetctier, Boiiuinotii, ven ml^ni t4 
niitlf ^rfditn lubr'. 

And in Adricn B&illet's Jugemtia des Savons, printed at Paris iu 1685- 
Sfi, the name Sliakt-s]ieare appears for the firet time in a Kn^nch book, 
it being inclndcd in a list of the principal poets of the British islnntfa*. 
But for both Franc* and tknnany the first knowledge of the 
English poot which went beyond the mere name, was drawn from Sir 

' R, Ovaiv, (ittfhic'ilt itrr ahakf'pfarf'iifhrn jFrrtmrn in llruttelUaaJ, L»i[iAi|t, ISTO, 
nntt J. J. JnnuorBnil. Shiikttpfart tn b'ranef ioii- I'anena rt/imf, PnriK. MPM (Hngluli 
tnutilntiDD. Lfjiiitvn, 18tlll|, vihvre ie[»n>nceB to other litvratara on cb)) cabject will W 
found. 

* In tlie cliA|>l('r I'mi iUt Kugemnder Patterry. p. SSO (the paomuw b qooWd I17 
A. Kolirriilrin, VfrmUehlf Au/tfiUr, Leipjiig. )Ft5A, pp. llU tt., unil by Ocofo. p. SO). 71h 
awiif ' Sbakwpcarc' nLna oocurg in tlic ■utumat)' of M\>rLiors ali4ii(«T (p. iiT) am] in • 

3U«tetioii riumCftmiicij'iiiicrjtuiit'ip. 39'J). la u aubicijiifnt okjt[il(!r Van Hfit Sclumtfl^leti. 
onaon nod Hilton u» tnontioDca. c-ol Shnkopaue- LftCer tidiltoiu of tlie Unitrrifht 
afipmrml in ITOO imd ITIK. 

> Ji)(M>inni). p, 141 (RnKlinh trannliiCioD. p. lIC), Ou k •tiU euliu mh. doUm of 
8bKk«»p«aire iu Fruioe. tee p. 137 (170). 



I 
I 




J. O. ROBEBT80X 



313 



William Temple's wifJoly-read Essa^ on Poetry. A French translation 
of this essay appeared in the (Euvmi mel^ uf Temple, published at 
Utrecht iti 169,1 and frei]nently in siihsp*|iient years. Here (p. 366) 
Occura the statumerit : ' Je !iy auis point (-tunu^ de voir jetter dej* cris k 
i^paiidni lies lamies a beaucoiip de Gens, lors qu'ib* lisent certaines 
Tragtkli'PS tie Schake-apeur.' Hert', too. was to be rwid that claim for 
the su|K.Tiorityftf the English dmmaliBt to all others ancient or modem, 
in the quality of 'huiiieur,' Shakespuaru having been the first to intro- 
duce it on th<! English Htage. 

The second reference to Shakespeare in a book written by b German 
in bnard on 'iVniple. It occurs in a tract, Vindicws Hoiiiinis Gerntanici, 
contra i]i£iusdtim oUrectatorai Qallos (Aiusterduin, l(i94), one of the 
nuuiy rcplicH to the lanimifl chargt- brought againnt the Oernians by 
Bouhoiirs, that they were deficient in 'eeprit.' The tract tnkes the 
form of a letter by J. F. C. (i".ff. J. P. Cramer') to F. B, Carpzow. On 
p. 85 is to be found the foUowing : 

Qiiiitiutii atiUtu jKxtticeo verniotiW facitltAteru linbnaiil Aiifjil. iiori itn pndiMii 
(ioRionHtravit T(<ui|)leu!i KqueH...S)dueJuT]]. Equtum Aiitjiuui, ointubui) & Auglis & 
eiteriii !'oetia, i^ui nut nostra ^'i.iit uu^oniiD iiaatrumm aetata iit^^nii l&tidc pmO' 
BtJterunt, atit«<|»jiiore loogo iiitcrvaUd ; SjwiiccrutD o(>iii|wrure outh Pctrarcbu & 
RoDsordo? titiakn^Nwrium cuui Mulii-ri'i, iii )^!iioro coiuiu«> ; h in ludiuni liiutione, 
Joannoia Mtncflnm, E(iiiit«iri, pninfcrr« ottnTn "Cilhuv A: -ScAtmni, vjr cotn]>Kiri uia 
Lingiumiin & nmniutn ni^iui gciioriH kiegikritirtniin c«lkuit.i>HtiiiiiH non ilubtUt'. 

In JiUiimry, 1702, the Acta Eruditorum, tbiit munificent monu* 
ment of (jenuiin learning, industry and cosmopolitan liierary interests, 
had a little more iafunoiition to offer ua the subject of Shakespeare. 
In a review of Dryrlen'R Exxitij uf Dramiiftc Poetri/. the critic, in 
sammArimng the work, quotes (p. 38) the following passage, which 
could hiinlly havt; failed to impretw the German mind: 




1 Boa lUfutil de UlUralur^, Ar Phihtuphit *t d'llUtoin, Ainst»rd«(D, 1780, p, li, 
■liK) Um uliclt on Cnunnr in tliA AUgtai dfuUfhf m«ffraah<t. 

* I am indnbW Uj the .Staainbihliothok iu Munlcli for lialpin^tuu tolnwothitintonuitin^ 

?iin|i>ili>t : bill Uipre i* nlw a copy In tlie Itiiiiali Muiwiiui. it »»■ n-vtnwol in tli« AttA 
nutiUrum (or lan.l, p. 39 (op, Heliuer. l.ilentturgttrh. d. IK Jahrh. i, tu. i. p. I113I, 
wlicve liie ititU-iiicni wJlti rutorunue lu tbs EnnJiili iioc-ls in n-pmUMl ; ' . ,ot inlrr AdrIo* 
futdfiii *uinneir. Si'liiriuiii, SiHiuoi-riirn. ShakcupAnum. Mincoum, to(« Ei|uitc d« Temple.' 
'HinoMiM' i» th<< pno<' fftinoa* Sir J^liu Me-uuc (in tli« t'lciicli tmni>In(i«ii »f T«uipIo, 'lu 



S14 The Knowledge of Shakespeare on the Continent 

In the cotirse of the next few yeai» the continent soems to hare 
made Uttlo progruss in it« biowlodge of Shakespeare. In 1706 the 
Journal rfes Sfavans. in a ijrelitninarj- announcement of Rowe's edition 
of Shakespoan?, moiitionod tbal this w&a ' \q plus faweux des Poetee 
Angloui j>niir 1e tnij^iqu^',' and, about the sanie time, a FTamburg poet. 
Bfirthold Feind, again falling back on Temple as his authority, wrot« in 
his Geilatu:ke}t v»n der Opera : 

Mr. I« Chuvalicr Temfitt tit Uintm mtbrmMe in^tjdhum Ki»i{ de la PoiMt 
tT\tl}Ut fi. :!74, bdl tlliiit, Ktnn \\t iu twnonimirtm ($ii,jU)6(it Tmgid SkahtpMf 
'Iiauri: £i>i«l< DnUftn hittn. cfft lauiH JDdlfM >iii ju fdrntjcit gifan^tn, unG Ij^iiffigt ttitiiKit 

Ah far ag the gcneml public wa8 concerned, a more important word 
in praise of Shakespeare; was thub in A. Buyer's Diai^tguea famHiere (in 
English and French) apjMjnded to ^"arioiie widely-used gramniars for the 
UH of French aud English leoruera of the respective taDgtiagcs, by 
Boyer himself and by C Miege. The statement is (I quote only the 
Prtnch vcraioa): 

Four M <)iii ent dea Pu^m, il u'jr & jKiint du Nation c^iii pnimc cotrcr en 
comiNhriiinii ikvec la mMie. M eat Tmy ; car douh avixm mi l\ndarr & nu Home*, 
en Cvu'lfrt/, & en OWium : un Turence en lien. JoAn»on ; un Saplutrle, & uti Euripidt 
en .SAiitmpear ; ut) Homer* & UTi Virgil* en Sfitton ; & pratique tout om Poftn 
en»eiiilfle en Dryden acill*. 

The biographical lexicons published on thi^ continent in the closing 
jcjirs of the seventeenth century hod completely ignored the existence 
uf Shakespoare, even when they devolt'd comiiamlively long notices to 
Mtltuu*. The first cotnjiiler to mpair the omiBHiun was J. F. Buddeus, 
who in bis Allgemeii\trg hisiorisches Leu-icon, published at Leipeig in fotu* 
volunies in 1709, inserted (vol. iv. p. 428) the following notice of 
Shakespeare : 

S'tiafcrvMr, (^iitliam) gtichrtn in Straiten an In Vvoa, in trr (Iitj^UitMi'ififn pming 
^aiiLnifdliiTt, iNi tin bnubnUtt mt, eb n ivct}L hint irnteitan ^tUbn'iinirtii baitt, vtfSMfini 

' Svpfl/mi-nl rfii Jimrnitt Jn Sricvitni |Oftt. 170^), p. 1496. Tvn ToArK Uhr tbo lUBW 

periodlw ui[iouDc«d the app'eRniiioe n( tht* <fiitinn : * [« Sienr ToDiOn Llbmt* de ootts 
VUle, mhududg* A veiidre la □ouvc>llo t^dilioa dt>e Oecvres da Shakew PeuciiBU vol. in 9^. 
M. Row Tft tevbe A oofTiRte, it tl j a joint ant! Di^wi ihIiod tras-ourieuM m ta Vie A In 
Otivfii|^> lie oe PoL-ie' (1710, ji. 110). Bolb pa»c&Ki» are guuied by M. Jnsserand. 

^ Qiiotvil bv bnili Kobmaluiu wid Guiifc. It in to lu fuund in 11. Poiuxi'ii Dwuckt 
CtdUlile. I. Slftcii., 17IW. |., IIW. 

* li i« doublfiil whc'ii tills dinlogn«. whi«h li not la he found in Ihe oldec «dili»ni of 
Ibo gnutuQara, vat tint |)ub]t§hed; it woald tppvAr nal tu har« been writua nnlil 1701. 
8m A. Bayer, The Cimfilrai Frrnrli-Matter, ilU ed.. 1710 (Brit. Mu>.). p. 877. JvaMtmnd 
qnotwi it fTom ■ OnuuiQitr tit 1T16. 

* SbftkegpcuTc'ti name \%, tat itiKtanoo. not to bv lounil in Kajlr'n tiictionnatrr, is 
iScxin't Supplimrnt (L71U), nor crcn in tlie Ocfman trunnltttioa of Bnylr, publiabcil hj 
Uotttcbcd ftnd hia circle et Leipzig ea let« m 1(41-44. 



I 




J. G. W0BERT80N 



315 



nidii ftifr ttiV mbT »iiv il)n oftniiiitrni miiftt- Ui liaiic fin iAtr^bafttf ^imiitb*. lunte Jbit 
teii dUift fffjt ftiirifi.iffi ftim. lint vcitrcfflicbf Ira^ftttn uiit tcni^litn fijTeibtn, St balt< 
cid finnmd?r nut fuMilt flitilijltiitn nil 9}(iii3o^n(i}n, iuttWDt)i kiiin vmt ftnitm vitl bimll 
gnraiiR. 

It is strange that tlii» interesting notice should have hitherto cswuted 
attention, as the tiexicon. which was subBcquuiitly rcvisL-d by J. C 
laeMn, father of the better- kni»WD historical writer, Isaak Iflelin, 
reached a third edition in 1730. The source of the mitico, it nhould be 
added, is Thomas FiillL-r's Huttorxf o/the Worthies of England (1602). 

In 1715 the Leipzig scholar, .1. B. Muiicku (or nitht-r, Ch, G. .Ificher, 
who waA the real coni|iilur), with tht; iiiiscnipuLouaness which appears 
to be the right of all dictinnary-mukur». apprupriutod almost littirally 
Boddeiis's notice fur his Gumpendiaaea Getekrten-Lexieon (Leipzig, 
17]fi). But for the Brst sentence he substituted: 'Shakoapear (\S'ilh.) 
tin ©nflt. Drnmaticus, flc&, jU olullfl)^^ 15G4. TOiir fdjkttji ciiifer(Ofl(ti, lln^ 
Krftutib f«n I'.itfin, ii-toit kdrtjtc tri in Cer V6<\it feftt tic^.' And ho 
added the further iulonuation : ' (?c ft. jll Slrulfptt Itil (J. 2-5 Slpr. itll 53. 
^ai)xt. €ciiu 6((rtU« unD Trautr'SpUlc, itxtn n fiiOr vitl i^iiibKiiUn, nn^ 
In VI. JhciUn 1709, jii Scntm iiiifaiiimeii jjcfriirft, un^ wertcii feljr 1)0* 
gct)tlittn'.' This notice woa reprintod without alteration in the sub- 
sequent editions of the Leuncon of 1725 and 1733; and when, in the 
yeors li50 — 53, Jocher published as a fourth and much enlarged 
edition of Meackc, his AUgemeinei Oeleiirien-Lexictyn, the only addition 
to this naive Account of Shakespeare was a mention of the fact that: 
'Stine Sftffe fint» mH) 4u 'imUn 9[n. 1733 in fiebcii "lioU. v«r Lud, 
Theobald mil vicl <riiif*fn «nt atiN-ni ?lnmfr(futii5cn von n«ieii an ^aC 
iSicfci gtiulkt iwrtdi, alitro and) i>pn i^m mcljcttt 3iacljt:irf)t .iniuiren<n.' The 
fifth edition of JtSchcr's work (1784-1822), for which Adelnng and 
Rotenniind w«rt? reg[Kmsiblo, did not reach the letter S. 

Betwec-n Meticke's Lericon of 1715, and the next rcforenee to 
Shakespeare in a (Jerman book — omitting the repetitions in the later 
editions of Riiddous-lselin and Mencke and of Morhofs Uuterricfit — 
there is a gap of seventeen yoara, whicli, notwithstanding diligent 
ecnreh, I have been unable to till lip. The silence in tiermany is 
remarkable, for there is no doubt that, in ihostJ years, through the 
medium of Freueh sources of iiifonnntion, Shakespeare's name was 
becoming increasingly fuuiiliar to the coutinuut. Of tlieae French 

I Uanek* himi^lf poMtcnud t)iv cJition lit 17i>0 \ltiiitivtffit Utneluniaita, Leipsifi, 
ITtt) p- MS). Hi* nulico m tiiioted both b^ KabnMUm i»nd U'nA«. 



316 int« Knowledge of Shakespeare on the Continent 

aoutoea', three were or parnmotint iropnrtanee for the spread of a 
knowledge of English !it(■m^ure : the French imiiHlation of the Spectator 
(I714>), the Dissertation on English ptmtry in the Journal litUravet 
(1717). and Miiralt's Lettres snr tes Angluia (1725). 

Id ils Frunvh garb the Spectator had an extraordinnn' vogue on the 
continent. Th« Qmt etlitioii api^earerl at AitiKU^rdain in 1714 under the 
title ; Le Specltitgur ou le Socrule vivd^nie, ou. I'nn wit nn lyortniil na\f 
des moettr* de ce m'ecU. Tradidt de fAnylms — and forty yeani later, it 
tteL-ined Btil! tu be a* |Ki[)u)ar as I'ver'. Evt-n, however, under the moet 
favourable circumstances, the Spectator wa*i not a work which could 
have materially helped to familiarise a foreign people with Shskespeare, 
and its value in this respect waa still further diiuinished by the iiict 
that all thi' early French editinns were iniirh abbreviated. More than 
half the references to Shake.speare in the Spectuior do not appeur in 
French at all, and of the reniuiiult;r, the majority are mere pn^ng 
ullusions or quotationn. The inoflt definite pronoiinceiaeni, and one 
that was likely to arrest nttentiou, is in tht-r {taper uf July 1. 1712, in 
which Addison discu8ae.*i the ' fairy way of writing ': 

Entre Ips .Inj/'iM, 8HAKF8PKAR 1'eiiipirti! irilitiiinoiit ikii-dt^nnnx ilo toiu \ta 
BUtre«. L'Gttci ikiIiIp oitmviiKiiiH'*) liv I'Ksprit, qu'il ttiu«{N]»il an autirrim: dagri, )■ 
roudoit cApabla du tviu'hftr oe foible Hii^jei'stitieux do VI inngi nation de aw Loctwin, 
& de reutwir on rin [vrlaiii!! (^Eitimitii, ot'i il n't^toit Hoiileim que par La tieuttt f<iroB dv 
son propre (ivtiio. 11 y a. qiielque chose da a Mzarre. & avec tout cela d« u gran, 
diiti" Itw Disi'iiiirn de »e« PhAiitAmm, de mhs Fw«, de nea Sorciem & do b» autroa 
Pvnwiriniigcit diinii^riqiicK, qii'on ne Mtiin>it 't'i<in[i&^hor de lc« entire tMtorels, quoiqae 
nous ii'a^ona aucune llv^lv lixn [Hnir <*ii bifti jit|{nr ; A i|it'iin «Kt onntraiint d^votter, 

3UC, 6*11 y B. U>lii< Ktrftfi ati IVritiido, il vst fort ^irubittjic (Ju'IIm |ifirl«ri)ioiit tt agiroient 
e la maniiire doiit il lorn n r«|)nWeiite«. 

On the Hnit occasion when the name Shakespeare occurs ('notre fauieitx 
Shakespeare,' No. 17). the tranidatur, who xhows throughout an intimate 
familiarity with English condition.^ and affairs, tidds n footnote ex- 
plaining: 'II a ^rit des Trag^die.t, ilotil la pli4pu.rt dvs Scenen sont 
Hilmimblea ; mivis il n'^toit pas tout^-i-fait exact dans ses Plans, ni daaa 
la justesse de la Composition*.' 

Much better adapted for spreading a knowledge of Shakespeare 



' 1 omit the mlaar nolioes. an I have Tew to add to tliow menliofied 1^ M. liiiwiiiiiil 
Si'C an itJdtructive iiul* liy V. Bald fiiB pern it "" ^' iironanciiiUim fnutraiMf dv mim lit 
Shahetpeare in ihe Architi fur neucrt Sprofhtii tiiul /.rltrnilurrn, CST. (ISvG), np, SSH tt. 

* AMordiii« to L. P. Bats {Itodmcr-D-nikKhrift, Zurich. IWX). p. 236), eiiitiDnB wvn 
MibUiihod at Anutenlani io 1711, 1710-19, lT3!t-m 1791-3)>. 1741. 17S4-GS: a| Paria. ia 
l71R-3r>. IT114 I'ltornfite et nUk'T^c^^t/« j and 175I-3&. The KHllHh Uuceam pouecM* an 
ddititin (tabid Amativdiiui. ITJtMSO. The Udrtnan Cnutlalbn {hy t'lau UultMotned). Dtr 
Xiit'-ltaurr, ilatfv only [ruin 17t)9'13. 

• Vi>ol«d hy .luMrrnnil, p. 112 (178). 



J. 0. ROBERTSON 



317 



I 



I 



thnn the l^tectateur, although naturally appealing to a more limited 
public, wan the Diaaertation aur la poSsie angloiae which appeared in 
volume IX of tht: Jovji-iml UttKraire (I7l7). pp. ]57— 216. ARi-r 
touching briefly on Prior, Butler, llochester, Dryden, and diMrussing 
the rhymek'*a veree of the English, which he n^^gards as no bettt-r thaji 
good prose. i\u: jitithor of this article goes on to analyse at considerable 
length Paradise Lojst: he also criticisutt the Faer}f Queen and Addi«cin*8 
Campaign. From the epic he tumfl to the comedy, reproving the 
Engliah wi-itt-rs for their coonit'nL'Ha and vulgarity, their unacnipulou» 
thefts from the Frvnch; even the writere of tragedies are not free from 
bhimc in tliit< ri>Kpcct. He tluprectitcH thp English contt^mfjt for the 
'rulee,' and thia naturally brings him to Shakespeare (p. 202): 

n eat probable que Lnua oeux qui voiidront bian rt^fldctiir aur I'sKseocA de U 
Ttagddw^ milniftttroDt aveo noua obb Rej^Iea comnit' Iob prinoipalett, & mraiiie celles 
maa lo8qu«llw tme Tra^ie n'eat pan Tnigi^iG. Sur c^ pied-la ce a& soiit {Mint 
dm I'm^diw qu« los Fiiicfla d« Th&itre t^\U>ii vnr SfifiJapear. que Ia pI(l|iEirt dee 
AnglnU r«^inl«nt onooro, comni« 1^ [iIiih ndmiriil'l? I'orivitni tianii co gmre-IA, & h 
qui daiiH bills l«« prologOM d« c«iix qui I'rnit Mitvi, on droMi« dm AuUk eotiuao k 
un Uiou dc Tlw^atrn, 

But this 'divin Shakspear' ignored the rules of his art in the moat 
reprehensible way ; and the incungruouK introduction of the gi'avcdiggor 

ic in HamUt. which shocked V(iltain% is ijuotfid as an illustnition. 

ides Ha.Jidet, the critic mentions Richard III, as an example 

of how ' le gr»n<l Shahtpuxir a traite hiulc I'Hiatoire d'Auglcterre, 

is Oitxllaume le Coiu[uernnt jiisqu'au Regne sous lequel il a v^cii.' 

tio i» Bccortled what is relatively the most rlctniled luwlyais, but the 
critic regards this Inigedy from jm even more superior standpoint. The 
article finishes with a few wonli on contetnimmiy writers, such as 
Philips. Howe and Addison. On the whole, this dissertation was the 
tintt real intHxliiction of the Knglinh poet tn the continent, anil, until 
Voltaire published his Lettres phUosopfiiqnes in 1734i, it remained 
virtoally tht- only aour^'C of detailed information. 

What the third authority on English matters, the Swiss writer Bi^at 
de Maralt, in his Lettrcs sar lea Anglois et lea Franfoia {1726), had to 

on the subject of Shakespeare, is of very minor importance, he 
Ing more interoBted in the English adaptor of L'Avare, 'Scbadvcl*; 
but his views on Shakespeare are worth quoting, if only because his 
book penetrated into circles which had no acceus to the Jotimai 
litUh\tifC. The fii-ot edition of the Lettrea was published at Bern in 
1725, the eecond— nominally, at least— at Cologne, in 1727'. 

< SwO. VOQ Orcytn, Bfat de Hunitl, FraawTuM, 1899; Or«7«rB hA« •!»> (dilcd tlie 
^titlrtt »<tr It* Atufiait rt Ui Fniiiraii, Bern. IS97- 

21 





318 The Knowledge of Shakexpeare <m the Continent 

8i leH AriffloiH. (he ittyit in the aeoond loUer), nutinaent m raaondre h y £ti« plus 
■inplm, & i jjtiidier davaittage 1q Laii|j!H{te i)e U Na.T.itrv, i)« oxoelltroivnt mna doute 
dana le Tngiquo pnr doasiu tons le« Pt-uples de Vl?umi)«. L'Angl«t«rre flat lui Pkb 
de PaasiDiu & de CntAstrophcft, juaqilOB \k que .Sc^(7i-*;H<Tjr, lui de lean meiUsun 
ADcieiu Pootcct, v inin iinv gnnde itutie de k<ur Hi^toire en TnigMieH. D'luUeurs, 
I« U^titp du l» Xittiiiii (ixt jHiiir ti! 6vri«ui ; Imir tuigiie rat forte et nuccinte, teUe 
qtfil U faiiL iKHir «i]iriiu)tr lat ^uMriioiiM. Aiiixi Ifiirx Tragihtiw nnt d'«ic«ll«u 
eiidroLtB, & uii graiui uombre : nutm ellen ont Icm ui^iuck d^fiiuU que leura ComMin, 
ft jo penao quelt^uoK nutrea dc ^Iuil 

With Kucb suuru.-s of knuwlc'i%i; tuorc or k-sn aoccxiuble, tlie scanty 
paragraph whinh was iiist-rtot! in the si^coml edition of the Enptl- 
tandiscJie Kiixh- und SchulmStaat (17112) liy ihe HiuinTchan th^ogiao 
H. L. Bentheim, »eems aomevrhat belated; the notice, whicii is agaio 
taken from FuIlerH Worthies, will he found on p. 97({: 

S lai. Willinm Sln»kL-«|>c%»r. (nm 411 5^rai^''^^ i" Wiirwickuhire auf tW* fiitU. 
Stlru Oltletjithtil roai Mhr jrtilufcl, unP eabn iMrwiuitrrK iiun fi* »m Itttmebt. laf n tm 
fiiitcffflidin PoctaiNi. Uirtiaiic until Kitiuadtcit .Ri.TJf.iirtUi edxit.. iintRvxtiiiTrnyoedieii 
lint) (.'i^niiwitirii [0 glurilid), cup ti jiic^ iinin Hi-nKtlitom ^iitii ifatl'in. uitt linat 
crituin {um 'Wiinm brintten feitlt'. 






The <»uiiest rcft-Tt-ncu to Sliiiki.«()eari; whicb I have been able 
truce in Italian soLirccs, has eonielhing more than Italian interest. It is 
to be found ill a Icttur which pr(,'l'at;e« the tragedy /' Oeeare by Antonio 
Conti, publialiud in 1726. Conti was a cultured Venetian nbbt^ who, 
ultnicted niainty by the briiliancj of Engh'sh scientific discovery and 
the (knio of thu Ruyul Suviety. citiiii.- to London in 1715. He was 
provided with excellent introditctiontt and was soon on friendly terms 
with tliu English scUolora und scientists of the day. including Nowton. 
In 171C,when he went over to Uenuany with the Enjjlish court, he 
was changed with the important mission of mediating between the 
Luglish philoi)oph«>r and Leibniz: but before he reached Hanover 
Leibniz waa duad. Of delicate health and constantly afUicted wtlh 
asthma, he found that the air of London, rendered heavy 'per lu mistura 
delle particelle del carbon di terra/ did uot agree with him, and on the 
advice of friends and tJoctors, he gavR np his scientific .itudi..-3 and tetiri>d 
to the countrj'. As a residence he selected ' Kinsington,' where he 
enjoyed the intiniocy of the Duke of Btickingham. and the latter 
l-cawakened in him those litemry intereals which he had, eo &r. not 
had time to cultivate in Engln-nd. The Puke Bhowed him his tragedies 

> Km alio Ocniie, p. 6J. In thn elmptiT nii Otfnnl tlinra ia ftU.uilii.-T tnctilion of the 
jiuot with refereuce 10 OlKoy. ■Tliomiut Otwaj, itn aiitri Pool" uni tflewtr ComiMdid- 
j^KitiT. ai(l4n ahn in S&ntrfprji fnn iiiirinf(ttcit>in iftiflc' (p. 4^). The first odiliQti tii 
till! A'lrr/c- nwt HthHtcH-iiiiiiit \\je'\\>3\f, ItrQt) cunlniD^uorcfcrtnco toS>wkcFpt«rv.ftlt))iMl^h 
MilUxi, Btiiltu: and Chnuoef uiv iu«iiliuaaii. Tlic >tilbur, it ouifht to bo ^>k4, di*d IB 
1733. 




J. O. ROBERTSON 



319 



on the subject of Caesar and Bnitiis — iidaptntions ol" Shakespeare's 
Julius Caesar — and Conti's ambition was fiivd to writo a similar work. 
The first result was Jt Cmare, which, however, was not finishf-d imt.iI 
aftt-r Conti retiimefl to France in 1718. In Paris lie read thi- drama 
aloud in SL'venii lituraxy cireltw, and copieA of it in tnanu.scn[jt jwueied 
from hand to hnnd. TTItiniatcl}' Cardinal Btiutivogliu, then the Papa! 
Nnncio in Paris, without consulting the author, had the trngtwly 
printed and in L72t> it appeared Jii a handsome quarlu at Faeiizu'. It 
ia in a 1ett4>r to Jacopo Martelli that Conti explains the reasons which 
inducted him to write the drama and alHo expre*»e« his viewH on Shake- 
speare. The ruo»t characleristic passage is the followiog (p. hAit): 

Riwixsr h il Conielio ilvgl' In^lrai. run loolto piii irrcgolnrc dol Coniolio, noblicne 
al |iHi-i di liii )in!gi)f> li: grniwli n\tn\ e ili iu>l>ili nrJitinifnti. Rcatnugi.-iiil"iiii qui « 
mriare del mio Cmnre, \\ 'Ai\r<\\t:t !u fn iiuirim ul t^rm ntUt; U riiiiAri'*Titii dflln 
Trnf^edia t ociui«to dalV nriiiK" di Maiv-ftiiMiiio «1 Pii^hiIh indi Julie jfiiuiTe n dulla 
morto di Casaio c di Bnitci. Pui uiaggiornicnte violanii 1' nuiti del 1eia|io, dell' 
auoDC,!; del Uiogo' Ma el' Iiislcai dJ»pn?£x<LraQci aiiiu al Catoue le regole d' Ariatotilo 
iwr la ruKi<>ni\ i'ln' 1" Tnij.'<'*fii» b fntlH jmr iitui;eni, « ehi ottinia elU h all<ir* oli« 
|)iAfF; 01)11 triiviwi' a)Iti rnriUi u/.ioiit divcma u tnufiDrbuMa pi-nKiniiggi dall' I'.iinipii 
fiell' Aidit. e :fiiiiiiM!n> vei-clii, uro aimiiitiaroiHi faiiciiilli. C'txtl [N^Mnvu cml' io 
la niagijiur [yaitc AvuV Italiani del IGOO ipuuti dalle Coaiiikeilie Sgiagiittote: « mi 
inaraviglio, caoio in quel Hecolo aiuno n aia awiaato di Lradurre in Italiann le 
Commedie e ^'nigedic liigleai, coliii« d' accidealg cmue l« Spagnuale, ma ceriaments 
oon ooratteri piii natumli o loggiadri. V Italia avreblw ae u(»n UDjiorata tiitta ta 
atom de i Re d' lughiltprrti., che Aa lotti jiooti k »tuU p«istM kuI toatro, ogiii vita di 
Rv dnndo materia nd iiiiu trugvdui. 

The importance of this statement is that hon>, for tho first time, we 
find a critic outside of Enftlaud not merely regarding Shakespeare with 
tO^ct, but hinting at the possibility of a continental untion learn- 
ing from him^ That Conti's own Ceaare. excellent though it m, has 
nothing Shakeepearian about it, does not impair hi» argument, and his 
words fell on fniitfid ground both in Franco and Germany. In all pro- 
bability, this tragedy indicated to Voltaire how the 'druokon savage' 
might be triitimi:-d and docked; and even if It Ce»are waa not the 
immediate niwiel of La Mart tie Ciaar, it at leant corroborated Voltaire's 

* K hioiirapliy at Cuoti in picfacM to (liu wuand ralnron ol hia Prote e Pottir. T«niM 
1TA6. Sm alw th* ftd mi ratlin •nrin of arUalvii on CoDti kty (A. Broi{nolig(i In ihe dtenta 

* Tbe einUnatiDD of this altitiiilr i<i partly to b« souKlit in ilie Btrainwl relaiioiu 
•aiatlag at tlie tiiui* Wtircvo IcaUan cntio* and ibp rcprmeDUtivn of Frvuob pi^udo- 
tlud^m. S«« Vh. Dcjnb, Alutlf lut la Ira^fJii-. Pnti* 1697, p. 107 fl. and A. O&IloUf 
LeU&rS* drannuilit/it f la trag*(Ua nri uroUi XVIII. i. Crrmaiiu, liMil. To Cotiil and 
Um InfluCDW of liU oriucal Ti(rw». 1 propnun ti> ri?Iiirii in h Kuba^niiiiitit iitlidc Mi^aiiwliit*. 
il ia p«rlia|M worA while correcting un errnr in Prof. i^Rinlahurr'n Hillary n( Cr%tiritm. 
vhMV (ml. tu. p. 231 lo Couti in lUoriLuil tbe fur^sonr (trlla Piiema Iriisici pulilialiel bj 
Itoilmnr in 17^3. Tlir aiitJiui uf tlial Irook wu- nr>t. howcyur, Oonti, but Cnlcpio -Pictro 
de' Canti di Cali-|no— whcin cren tLu Biitiidi Musfum autliorilivB have vironwUfljf 
cUalognad oader 'Conti.' 

21—2 



320 The KnowJeflge of Sittthespeare on the Continent 

choice of Julius Caesar 03 the drama best adapted for the purposes oF 
introducing !*ihakespcare to hts couDtrymen'. Further, the words 
jiwt <jUOtcd from Conti'8 introdiietorj* letter have al.to, it se*-™!* to me, 
loft their mark on the first edition of the Lettre^ phil^fsophiquw, where 
Voltaire, io introducing the English poet, wrote (Letter xviii); 
' Shnlcospear, qui }>a»ioit pour le Coraeille dee Aoglois, fleuriuaoit h pea 
prts dans Ic t«ms do Lopez de Vijga.' To mention Comeille in the 
8atn« line with Shakespeare was ohviously not ia accordanoe with 
Voltaire's maturer views', and in the Inter editions of the LeUrm 
phUi)9ophiijueif, h<< sulMititiitet] fur the objectionable comparison, the 
wordu: ' 8bake)tpcar que tea Anglois prcnncnt pour un Sophocle, 
flvuri^sciit etc' 

Conti's interest in Shakespeare had also a sequel in German 
Utentture. It offers an explanation to a puzslo which has long been 
the subject of conjecture and c«introversy. The Swiss critic Bodmer. 
in the pn-'ffttory Xucfiricht^i to the first edition of his tmnnlntion of 
J^artutiJMi i-oxt (1782), had mentioned ' ShakeMpear der Engellandiiiche 
Sophoclea.' and a few years earlier, had had the opportunity of making 
tile ac()uaintan(V of Shakt^p^anr in the nriginal*; but i( in mort' than 
doubtful if ht> Uiok advantage — or knew enough Eogiish to lake advan- 
tage — of that opportunity. In 1740, however, in his Ci-itiach* Abfutud' 
lung WH tlem Wunderharen in der Poesie (1740) and in his Gntisdu 
Hetraektiintjen der poeiiaefien Oemdhide der Dichter (1741), he adopted 
Cfinti'K Italinnised cirthngmphy, and called the English poet 'Sasper' 
and 'Saspar.' Now that the origin of Boduier's freak is clear, it seems 
to uie that the oidy inference to be drawn in that Shakespeare was, at 
the host, a very shadowy- personage to Bodraer, a poet for whom he had 
little ui*e except as a meaua with which to clench an argument; and for 
such purposes it wa« immaterial to him whether he called him ' Sasper' 
(ir ' Shakeopear'.' Indeed, keeping Bodmer's very mediocre literafy 

1 Sw Vi>ltair«> pnfaco lo lh« drama, lud UU laltei to DnloDUtow oi Not. U, 17U 
{Oew-rt* fomiil.. 33, p. $fil). 

Cp. l.ttiUT !.> M. de Cidriille, Kov, S, IT85 i 'C'tftt 8h»lMq>Mr*. t» ContMlle d« 
Lo«4ln«. i^ninil fon <l'ull«an.«t nMemblant plus KtiiKiM A Olllmiu'iCarDeiU*' (Urnprw 
evmmltlrn. 3!l, (>. Slj|. 

• III H Ifiit-ror Jiiimar:(2-'*. ITti.tn hin (riimd U Zellweiifr: 'SBiii ih mu sen CoQimte. 
CihbRt. Aclcliiiiii). t4hflk>|HiBr. ant Uryilrn ^rfunr tdrrTii iktk iA tfiuft tticcAtnc iiii id) ti<fr f^fl> 
Irn tinfttc. em ant<t ^tM fUtOftnittiflt i<Hn' [H. liaAmet, tHt Anfmge ilii :iltrhtn»elitM 
ilillvn. in Siuilirn tir LilrralMrgcchKht'!, 3J- Brrnatif grKidmtt, LoipiiiiC. Itt03. p. 196>> 

* For tliv vitmu» •I'lution* ihftt liaw been «u]{£c«h-d in ci|>lkiialiuu of Bodmor^t 
•SiMtjipr' ••o Til, Vettt-t, JCiirie.h alt Vfrmilllfrin etiffliiehtr I.i'UriitHr, Zurich, 1(101, 
pp. lA n.. Mid tlie Mliii> n-ritar'B cnnlribiiliaQ la tho Hiittiarr. Omkiehrifl. p. SSflL II m 
inierMtUiu to note ihu, jusl on Conti mod^ ■Super 'out ot ■9>hAkMf*!An.' «» h« vrott 
■ttaNDiuri*' fur 'Shafleabur^' uid'VotBOQia' tar Hnlctaeaon' trriwc r Pet4U. t. (1'39). 



I 



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J. 0. ROBERTSON 



321 



attainments in view, it is jwrliaps not too raucli to say tliat in 1740-41. 
he had no dt-finit*- convictitin as Co how ihe poet's name waj* gpelled, and 
was as ready to accept Cmiti'a authority eh that of the French Speclateur. 
One thing, at k'lutt, is dear, mid it es a point which some German 
critics have been inclined Ui overlook : there is no evidence in thejje 
critical writings to prove thnt Bodiner at thin time knew anything 
more of Shakespt^arp than was t,n be learned from these twr> wmrct^s. 
The only n-ferent^cs which ml-l-iii l« imply ii knnwledjje uf individual 
phiyA ( Von dem Wunderbaren, p, 24fi. and Portinche Uf.vtaltUfe. p. 1 70 f.) 
are direct Lran.ilationM from the Spectator. 

While Bixlnier wa.s still writing blindly about 'Sa-sper' another 
Qeruiaj). Kusjiar Wilhchn von Unrt-k, who fmm 1735 to 17n8 wua 
Pmtisinn ambafiisador in London, had! completed the fintt literal trans- 
lation of u Slmkeapearian dnttnu, and iigain the choice- fell on JmUus 
Caenar. Bort;k's Her Tod des JuHu« f'dsrir in Alexandrines apiteiired 
at Berlin in 1741. Pnasibly indeed, Lhia trunstalion may bo mgitrdod as 
a direct challenge to Voltaire, whose Murt de C^sar wa.s translated into 
Qeniian by J. F. Schartiensbein in 1737. Both Borck's translation, 
however, and Bodnier'fl knowledgt^ of .Shakespeare fiill aut«ide the limits 
I have set uiyself, and nmst be reserved for later consideration. Mean- 
while, the fact is worth chi-onicling that, within a few yoare — between 
1730 and 1741 — thre« versions, lu three of the chief languages of 
Europe, based on one and the same play of Shakos pcarc 'a, carnal not 
merely the English poet's name, but something— and in the Gcnnan 
OAse, a very great deal — of hia art, to the natiouD of the continent. 

J. G. Kduertsos. 



SHELLEY AND JI. G. LEWIS. 



The influence of M, G, Levos' dovoI Tfie Monk upon Shrlley i» 
present, for thi; moKt piirt, lui unwritten chapter in his development 
ns a poet and a thinker. Mentioa has often boiii Diode of the result 
prtniiineH by thi' inHiience nf the Mo-callml ' R«nnissftDce of Wonder' 
upon hiiu; but the rcmnrks dealing with Lewis in this connection have 
been vety scanty. They have inuKlly cumoHteJ in statementti to the 
effect that Shelley attempted in his earliest works to revive the uncouth 
huTTurH of the Mvnk. and thai his jirodiictions of thist period bear Lraceti 
of the rapid sentimentality and disi">rdered imagination of its author. 
Medwiii. Godwin. .Jeffenwn Hogg, and Peacock, who laughed at their 
friend for his tmnscendentalisiu, which about this time, as the 
Br^t luimcd has stiitid. 'run on bandits, castles, ruined toweni. wild 
mountains, sfconns and apparitions.' all made no direct allusion to any 
cloee connection between the works of the two authors. And it has 
been the same with nearly all the many critim who have foHoweil 
tbcro. This wna first done by the late Dr Gamett in hie publiuution 
of the (iriginal Poetry hy Victor und Cazirt {l-ondon and New York, 
18118). The curious light thrown by hiiu on this subject has not yeb 
been adeqiiabtily explained. In the conrac of the search for the vobiniet 
which its editor has called 'a bibliographical event as rare as, according 
to Petrarch, the appearance of a Ijanrn in heaven,' Profeeeor Dowden 
discovered a short critique of it in the British Critic, while another 
gentleman found a few linee of a similar purport in another journal. 
Stniugv to say. a long artiiile in Iht- Literary Panorama (Vol. vtll. 
p. 1004), containing copious extracts from laariy of the poems, was 
entirely overlooked, and bos up to the present not been mentioned. 
The discovery of the missing volume by a member of the Shelley 
family has, however, now deprived the lust-mcDtioned article of the 
great irapcrtnnce it would otherwise possess. The reason of Shelley's 
withdrawal of his so-ealled Original Poems wa« due trt his publisher 
Stockdftle finding one of Monk l-ewis' poeme printed verbatim in its 




A. B. yocNo 



323 



pnges. Ak (larnett was onable to ascertnin whicb poem this was. ho 
mucli 80 that he confesaes ' some doubt whether Stockdale's testimony 
is entirely relinble.' and made sundry guesaea which are all iooorrect. 
it may be here state<l that the put.'ni in qiiiftibion is undoiihtodly Saint 
Kdmund'H Eve. pp. 37 — 44. which is copied word for word from a poem 
entitled 7'he lilnck Caitou of Eimhum nr Haint Edmiind's Eve, from 
Ia-wis' Taie« of Terror. 1799 and IHOH editions. In additiim to this, 
Gamett did not fiml out that the Hiibj<«t- matter of the two other 
longest po(.?ni8 in th« ojlk-ction is derived ncsirly entirely lrf>m tho 
some author. The pwm (jhasta, pp. o0-62 — the origin of the first 
Btanxa of which \\o» hwix rightly expiaiiivd to have bi'cn intiuencod by 
Chatterton — \a nothing more or le-se than a vereitication by Shc-lley of 
,,^ie tale of I)t*n Raymond, The Hleedint/ Xun, and the; Wandorinff Jvnj 
I related in the Mutdc, with some miuur alterations. The Revitnye, 
pp. 4o — 49, 18 due to the story of the Castle of lAndenberg and the 
Ipllad of AluHto the Brave in the same rumance. Thette piu-t» of thu 
,J(brub are themselvL-s derived from (rt^rman suurcee. As a flpecimen 
i'St B^iBUey'» plngiariBU], and as ao illustratioo of Lewia ootiog as a 
mediaiy of (jerman influence on the formers youthful works, tho 
folloving nineteenth atanza fropi Ghaata can serve : — 

Thou tut loinn, n»d I jun thino, 
Till Uiu Miiilciii^ nf the ««rlil. 
1 am lliiiic, oiii) thuu art mine, 
Till in ruin death \b burled. 

which w taken from the corresponding lines in the Monk: — 

A;piM ! Agnes ! thou art mine, 
Aipim I AgiiuH : 1 uii Uiine, 
III my vuiiiit wliile blotMl shall roll, 
TliQU nrt iiiiix- : 1 mil tliiuvl 
Tlihic uy iHHJy I thiitn my Mml ! 

which in their titru — an tho whole story of the Bleeding Nun. of which 

they form a part — go back upon one of Mu»pub' fairy talea called Die 

Eitt/iijtruitg : — 

Jcb habe dicli, nie ln.v* icb <lich : 
fein IiiebchCD du bint tnein, 
tein Liebcbci) ich bin dvin, 

du nu^iii, ich dciu. 

■nit IjHib und Seole. 

It AppeAiB to the writer that a careful investigation of the contents 
of Shdl^« otiicr juvenile works, with those of Lewis, would show that 
he was largely indebted to this romanticiHt, not only as has hitherto 
been supposed as regard* style, but also as regards en bject- matter. 
Buxton Furman uud other critics have conjectured, for instance, that 



S24 



Shelley and J/. G. Lewis 



Shelley derived most of the contenM of his novel, Zastrozri. from 
Gemian onginalii. Hia statement in the Pre&ce of She11ey'» Prom 
Wortcs ■ that th? repeated accounts of Matilda's violent passions are 
beyond the prolmbilities of so yuuthful &n imagination as ShvUuy's 
at that lime, and were more likely to have been taken from some 
iinplefwaiit foreign Ixiok that he did not more than half undenttand,' 
IB quite incorrt^cl. TiiL-if oan be littlt doubt that they are directly 
derived fi'oiii the iiimilar character of the Kame name in the Monk. 
and it is interesting to observe, in connection with Buxton Fonnan's 
Ktatemcnt, that Ijewis was at the tiinu he wrote bin novel about the 
sjime age as Shelley was when he wrote his. To show further how 
Za»tfozei \s nothing but a seeond vcraion of certain portiona of the 
ifottk, with, however, great altemtions — a fnot which up to tht prusonC 
has escajied notice — -the following resemblances can be alluded to: — 
The character of Matilda corresponds in nearly every respect with that 
of Matilda in the Monk; Verer.a resembles Ambmaio; and Julia. 
Antouia. Zaatrozzi may be said to take the part of the Devil in the 
ilontc. The greatest difference between the two ninianceA is that 
Shelley fliminules the idea and use of enpemntural agency. In the 
Monk, Matilda, who drives Ambrnsio and Antonia to ruin and ultimate 
death, is the direct agent of the Devil, In Shelley's novel, Matilda, 
who precipitates in ruin Vereszi and Julia, is urged on by Zaatmjon. 
who, although one might imagine him k> be the Evil One himself by 
the way he acts and is deacnbtr^l. in still only dtisirous of avenging hia 
mother, who has been seduced by Verezzi. ZastrozJti is indirectly the 
cfttiwt; of his fiitherB death in tlit; nanii; way that Ainbruwio kilU his 
own mother, and in both cases the relationship between the >'illatiis 
and their victims is first disclosed at the cod of the rcsiKwttvc tales. 
Ax the one (Matilda) is the means of rescuing the life of her 
beloved Verezzi, so the other, under similar cLrcumstaooes, that of her 
enamoured Ambroeio, and in both cases these acts conduce to the 
gratification of sensual wishes. In the one novel there U a glowing 
description of Matilda watching at the bedside of Ambrosio, and in the 
other of Matilda at that of Vorczzi. and at the end of both there- i» a 
scene before the InquiBition, etc. As Lewis himself drew material 
extensively from German sources, the above indication of Shelley's 
indebtedness to him does not necessarily disprove the prenouajy 
accepted idea of Shelley owing mnch in his juvenile works to Oerman 
romanticism, but iit least exhibits this suppcwitiou in s nuvel and 
interesting iisjiect. A. B. Youno. 



MISCELLANKOUS NOTES. 



'To SET SPELL ON BNi).' 

CcrUw, dojnv, Iwu wist aa boade ; 
And I nhnl ecttcii spvl on eudc. 
And tellttn I« oL. 

J>mM Siru, 68. 

In Prof. Schipper'a sixth edition of Zripitza's Vhnngsbitch — the tirst 
in which Dame Sinz appears — -chis exprL-aa^ion waa nut coiumenled on 
at all. Prof. HulUiauM;ii lukr-d for ah explanation in liU review in 
Engl. Studien (31. 288). In thv uno now given in dw seventh edition 
(OlosHai-y, in v. 'setten'). 'setten on ende.' ' zu emle bringen,' Prof. 
Schipper vfaa evidently inspired by Miitxncr's note: 'say my speech to 
the end.' But it strikes one that there can hardly be auy (juestion as 
yet of .saying the 8])eech ' to the end." for the lover is only juat be- 
ginning. Moreover, when we come to tliiak of it. the text does not say 
ao, for 'on ende' ia not 'to the end.' MAtzner's only flotation in 
aupport of bin explanation hn-t. it ict trne, 'to Jmii ende,* bub with the 
verb ' to say." not with ' to set.' 

It iH lhu9 ncce!i.sar)' to look for a ditlri-enb explanation, which is 
fortunately not £ir to se^k, ' To set on end ' auggeeta a stick or pole, or 
something aimilar, luid thi« brings u» to another 'spell,' vis, a 'Mpill.' 
If we now study the context, it becoiiie-i at. once dearer. The Itiver is 
plentativcly feeling his way ; ' I hope.' be hiw said (^7 IT), ' that if 1 tell 
thee my errand thou mayst not become wroth," and when he is en- 
coiu^ed by the lady's more than friendly reply (' even if thou shoaldst 
speak Die shmiie, I will nut blame thee') all his hesitatioD ilisappcara, 
and he says (61 ff.): 'Truly, Lady, thou 8[K-akeat so kindly now, that 
I am determined to tell tboe all.' For line 62, as will be inim«diately 
ftppaK-nt, Diciuu) nothing eUe llian *I am dolerminQd.' 

The key to the difficulty is to be found in the phrase ' to set the 
»pcll up on end' borrowed from the gamo of 'knur and spell' (sec 
E. D. D. in V. ' knur '>. The ' apell ' ia ' a thiu piece of wood with a 



326 



Miscellaneous Notes 



cavity at one end Ut receive the kuur or ball... The spell acts as a lever 

to raise the ball to a proper height when it is Htruck wilJi the hatetick 

or bat.' Cf. ib.. in v. ' spell ' as well tm a .slightly different deocriptioa 

tn V. ' knur.' To ' *tet up the 8p«Il un end ' is therefore evidently to do 

one's bent to send t'h<? ball in the proper direction ; and the E. D. D. 

givva an L'xauiple of the figumtivc use of the expression in Yorkshire, 

with the meaning 'to show firm dt-tcrminaiinn for the mnstery ' {in v. 

'spfl," mtb 8, ■ All's bu fouitret Lo sut t'spel up an end'), and then more 

generally. * to be determined.' The expression is analogous to that in 

Rutnev and Juliet, iv, 5,6: ' to »ct up one's tvhI.' which may have been 

suggested by the game of Primero. although imdnuhbedly also nndcr- 

xtoud in its military st-nae, iw Keightltiy hjiM urged. The two phrases 

mutually elucidate each other. 

H. Lor. EH AN. 



'Deep Pathaires' {Arden of Fei'ershum, in. v, 51)l 

Thin won] is ccrfrtinly difficidt, but I do n*it think thai conjecture ia 

any cure for it. Thi- various propitsiilH to ftlter it seem to be based *o 

the nflmimption thut the example quoted by Mr Litlludulv if) unique and 

that the word i« thi;refore imiierfectly attested. This is not so; it occurs 

at leftftt twice. This important eviilence in its favour has escaped even 

the Argus cywf of thu X £. D. To the passage from Arden of Feveraham, 

in, r, 51, should be added a parallel from W. Smith's The Hector o/" 

Qermanie. 1015, sig. B4 verao, where old Fitzwaters, rival to his own 

son for the hand of I'lomniel CljTiton, surprises him in his wooing, 

draws upon him, and is hold back by the steward. Young Fitzwalere 

cries: 

If 1 could reoro the waning of « Svonl, 
Mine GiKJtiiicH hod frizhtod luc vra now : 
Hmt I'liic iiivaliiiihlc [gh\, like tay tuiiide, 
Not ti) be wiiijihIi'kI Intt with diirts uf laue ; 
Ami I 'iH ViXXV: iMiiriuiW a Faliter 
In thetic PftthaiiVM, a« ho estoQiueii my giiefc 

* Suspires' is impossible here, and the recurrence of the word seems 
me to dispose of such substiiutce aa ' pctarrcs ' and ' pathaine*.' Two 
compositors could not blunder £ilike over such an out-of-the-way wind. 
The case of ' the prcnzic Angclo' in Measure for Measure. Ill, i, 95. is 
exactly parallel : ' preoiiie ' would have Had a short shhtt at the hands 
of most mtwiem editoi-n but for the fact that the epithet recnre, with 
marked distinctness and etnphaiiis, in the nexl sontenoe. In the case of 
either word it neemR impossible tn doubt (1) that tht> printer copied it 




Miscellfmeous Notes 



327 



fiuthfuUy, and (2) tbat lie attAched a DieoDuig to it The reading, to 
qnote the wine w(m38 of the Cninbridgo editors on the crux in Measure 
Jar Measure, ' rstft« on snch xtnuig Hulhoritir that it is better to aovk tu 
explain than to alter it.' 

PXRCT SlKFSOK. 



Jonson's 'Staple of News.' 

In tb« Modem Language Heview for last January I drew attention 
(p. 143) to \}r Winter's discovery thAt. in the St'tple of Ncwi, Jonaon 
employed many ek'ments which hiiU been uetd earlier in the London 
Prodigal. I oontV>8« thnt when I wrote the notice in question I had 
not yet read thf> Shukeitpmire-Jaiirhuch for 1905. Had I done bo, I 
dhonld have Ukcn the op|>ortunity *if pointing out that Mr Crawford 
bad mudo a Biinilar diseovery witli [■L'jrard lo the Staple nf News and the 
Bloody Brother. Jonwn's play in tini*. tiima init to h(> little more than 
a e«nlo made up of borrowingn from earliur workK. Whether it fuUows 
tbat thu«e works were by JDiison is another (juestinn, but a very strong 
IVMi'jElkD uuduubtedly be lunde out. Potxtibly Ben gathered up fragments 
of hiB own work pnxluced in collabonition with ythers, and wove them 
into n. m-w piece, much at Day did in the Parliament of Bees. 1 should 
mention that, while the .paralleU Mr Ciiawford adduces between the 
Bloodif Brotiier and JotiKonV Disootvrie* are ofgn^it intun-Kt, one would 
like, before building on them, to know how far thi' tatter work wob 
original. Ihfr Spingarn has nhown that conHidernble portions of it are 
translated fmm furuign sourceti. 

W. W. Greg. 



FiEi.piNn xsn GoLnsMiTH in Leydex. 

In his Life of Fielding {English Men of Letters), Mr Austin Dobsoa 
•iUit«<H (p. 7) thnt Fiidding rf-tumed to Ijondon ftwm Leyden, where he 
had ' etudietl the civilinnif ' for about two yeAr», ' at thv beginning of 
17SH or the end nf 1727.' Thin cannot be correct an Fielding was not 
registered tm a student at the UnivcrMty of Leyden till 1728. On 
p. 015 ol' the Album studiosarum Academiae Lugd-ano Batat\te uccurs 
the following entry: ' Febr. 16. 1728: Roctore Johanne Wcsselio, Hen- 
ricus Kit-lding, Angluw. 20, U On that day Henrj' Fielding, ag«d 
twenty. wa» entered as tittgnirum etvdiosuM nt I^eyden. 

This entry naturally gives no certainty about the date of his arrival 
in TliiUand. But one interesting thing we learn from it is that Fielding 



Li 



328 



Miae^aneotis Notes 



applied himself to the study of letters, that is. the study of the clasAicK. Of 
course, hv may have 'sttidieil the civilians' as well, but the entry l«ttves 
no room for doubt aa to the purpose of hia stay at LoydeiL As hia 6tst 
play, Love in Several J/cwyw**. was staged at Druiy Lane in February 
1728, and hia aexfc play, The Temple Heaa, wn« pro<lui»Ml in JuDilAiT 
1780, it ia not improbable that hia residence in Hullnud filled up the 
interval or jwirt of it. Did the profits of the play perhaps cover part of 
hia travelling expenses '( 

Although (loklsmith may have lived for aouie time at Lcydeu, his 
name does not occur in the Album gtudiasorum which was studiouah* 
kept by every succeeding Rector Ma^in/icus. This iiieana that Goldsmith 
wuK never a student in the UniverHity. The year given in the various 
biographies ia 1754, but neither under that date nor, for the matter of 
that, under any t>lheri does the uamc of Goldsmith appear in the 
academic rcgieter. His friend Ellis, who nesisted him in his pecuniarj" 
difficulties, wAfi cnt<!red on the llth i>f January I7.H as 'Thomas Ellia. 
Hibernus. 24. M.' Xo doubt Goldsuuth's extreme poverty prevent«d 
him Irom becoming & regular student. 

A. E. H. SwAES. 



I 



GvTiscH -BiJiSDZuf )>AS ' {jPAifemoM, 22). 






UatraiuuKJH ufbauaeioaj beioai gans- 
1i(ta Y\M witands b&t«i jab ofiiLr \<M 
<l)t>H taujis. Uijniumi^ (•nji ruuiwei nte 
Mili|>W(x. 



Die Etymologie des hier eracheinenden bijandiru\ \%t bisher dunkel 
geweeen. UppstrCm glaubt« ein Verbiim hijan. ' zuf\igen,' annuhnwD 
zii dlirfen.ao dajwalso das Partiz-ipiiim bija.nd$ A»s tem|)ora!e Adverbium 
o/M niedi-Tgebeu wUrde. Eine solche tlbymetzuog suwol als Kon- 
HtniktioTi stande aber einzig da in der got. Bi belli bersetJiung. Man 
vcrmiast ein Objekt. Als I'arnllplen wnnlfn I Th. ii, 13. und I 
Kov. xvi, 10 angefUhrt. Dort ist EiJ;^apf(rTcitr^t<}' 79! 9tm aSiaXctTTTiuv mit 
awitiadom ffu]>a imawcibandanit, hier iva d^ofitav (einige Hss, huben 
g&r aif>o0oi) yhnjTai irpoK uftav mit ei uitatfands sijai at iewui UbeFsebst; 
daas diese Stellen sich nicht vergleichen lusaeii bedjirf keiner weitvrcn 
Erortening. Daa angenommene bijan hat keine ICnteprechung in den 
verwandten .Spmchon, der Begriff 'siifUgen' wird im Got. gewKhnlich 
durch ein Kompositum von aakan Ubersetzt. 



I 




Mijscellaiieotui Notei 



329 



Sehon J. Orimm hatte jene MiJglichkeit in Erwagiing gezogen, 
indem cr (Grmnm. lu, 25) utitwrc Stelle mit Mb. vi, 17" xuMinoMm- 
brachit- ; aber mif derselben Seite deutet er noch eine aiidere an, clip 
ftir mich nw\vc Wabrachi-iiiliclikeil hat: "dunkel uud Wdtiikla-li iaL 
andUvJi (ri y<ip). Lc. xvi, 13, vielleicht jenem hijandxuh verwandtf 
Andis ist Advwrbialkoinpumtiv zu and- (Leo Meyer. 123. 182. 195; 
Uhlenbeck. 13. Vgl, hald'is, fram'U etc. ttber den Wandel von s zu 
s vgl. Li'o Mi'_vcr. 195 ; Braune. 37 ; Wihuaniw. 1. 127) — uiiit; AuflUasung 
die nichts bedenklich(-s hat. da der Bogriff ' aitgc gengesetzt ' wol cine 
Stetgerung zulitsst. Andizuk stt-ht Lc. xvi. 13, notdUrftig fUr das erste 
Glied des korreaiiondierenden ij— ij. worilber ich on Anderer Stelle 
{SifiideL u. aayiidei. Paralaxe ivi Gat. Odtt. Dia&. 1904, p. 46) goispruchcn 
habe; cr bezeichnet wn advnrsativBs Vprhnltnis. wahrt-nrf ini griecb. 
Tfxt ein explikatives eracheitit. Zu difaeiii undizuh sttlle icb wlao 
byandtuJt, Uber daA synkopierte i der Endung vgl. Grimm, Gramm., 
III. 589. 590. Bi- ial das bckauuti.- in bi-atd-an. bi-bimian, utu. t-rschuin- 
iv iind mit der Praposition 6( identische Prafix. j Hiatus vcrraeidendep 

[iindan'nkid, vrit; in /rtrijhaU, II Kor. iii, 17 A ; Gal. ii, 4 a ; in gaiji, Mc 
iv, 14 ; n Kor. is. 6 A. etc. (Wilmanne, I, 157. 200). Die urspriinglicho 
Form Ukiitctc aluo bi-andU-uh. Diui einfocbi: andisak bcdcutut uincn 
O«geuaot«, bi- (ligt ihn ttwus andurm zu, das folgende koi iiit durch J»un 
wiedergegebeo, wie aiich stmst. 

Gut ist die tTbcntL'tziing freilich nicht. Wir hnbcn noch an vier 
Stellen ein (I/1.0: I Th. iv, 17 ist suns gebmucht, daa sonst immer 
eveim<i odur tihnl. Ubcnsclzt: Kol. iv. 3; : Tli. v, 10, uod 1 Tim. v, 13 
erscbeint santajiu. lis bleibt hochst aufiaHig, dass Wulfila nicht such 
Philemon 22 ofta Br xai iiholich UbursL-tst hat wiir uu dc-r ziilubzt 
gcnanoton Ktclk\ a]t]^an samaita jah. Deo Vorschlag deo Uhlenbcck 
(Bei'fi*., xxvii) nat*h dom Vorgang*- frtihercr macht, kann ich nicht 
akzcptieren : wir sollen, otfenbar in Erimicnmg on Stolii?n v-io Kol. 
iv, 3, Mt~ vi, 7, hidjands- leatn. Abi;r Mt. vi, 1 iat die einzige Stelle, 
wo idi-\an niif oin Parti zipii 1111 falgend tM-schoint: ich vemu-ido den 
Ausdnick ' mit einem Partizipiuni vt^rbundt-n,' dtimi ich Hebe in dt-m 
UnUL-rbU-ibon des Wcohsela von s zii t grade das Bsstreben, die beiden 
Worti; xii tn'oncn. Es i.^t doch im hik^hiitpn Gnule gefiihrlich, wwnn 
man eine Kuujuktur mit uiritT Stolk- bygrUiidet, die oelbpt einy exzep- 
tionoUe StcUung eianimmt. Aucb liegt in Kol. iv, 3 gnr keine Pnmllele 
vor. 

G. HCHA.tPK.S. 



REVIEWS. 






By John Dover 
I'JOC. 8vo. vii + 



Citinbritlg« : Hftcmillan and 



W1L8OS. 

148 pp. 

"TJiflt pxnminatiun [(if Lyly's works] which I hare now concluded b 
fiir too Bui>erflciHl Iti chnracter W juetiiS* a i»ychi>l*'^ical s^iithosui...thi8 
i'May cannot claim to have exhausted the subject of this ways and uivana 
of Lyly's art ' ;— teU sent les tenaea donl s"est eervi Tauteur poor d^ter- 
miiifr In valour de se» ■efforts et appr^ior les r^ultnts de se* recherchen 
Kt jf ii« (fuuniis ciicux tuirc am: dc n-pfter cc« mots puur reaumer a 
num U»up rimpression que j'ai ^ardeu de la lecture do ce li>-re. Mr 
WilDon tt du talent; il a aussi un bel enthciaeiiasmo ot un g»At litt^^mire 
ln'>H iWdilli*; cea qu&lit^n combined lui ant fait entn*vuii' «t attaiiu«r leM 
tKi* iiombretix problemes *^\x\ reateat it r^soudre eur la vie et sur I'ariUTe 
dL> Lyly '. dans certain cas m^uie, I'^laji initial a ^t^ si fort qu'il a port^ 
rautiiir jusqucs h, deux doigts du trioiuphe. Mais il est rare qu'apr^s noiw 
avoir eutratii^H k sa suite*, uu i\ui'U.- av difTtcult^ k vaincre, Mr Wilson 
nc nou» brtlc aubitcuK-nt la poJili.-sso, dt-s quo Ic moment est venu ile 
Hu coUeter avtt la ditlicuUi' L-iilin dt'-couvcrt*-. ' Whilf Lyly'3 claims a» 
a novelist are acknowledged on all hands,' ftiit-il obiHTver avec. une 
pr^ision m^ticnlciisc, ptuinc dn pn>rtiRs»f?n, ' I ft:!t that a clear stattiment 
of his exact position in the hiHtory of our novel was still m-oded ' (p, vi). 
Mais r'est en vatn que Ton cherciie dans le chapitre consacn' au ' First 
Knglijih Novel' cfltte 'place exacte' Je VExiphues; et Tauteur, c« 
chapitre une fois tennint^. s'aper^oit que ' to attempt to estimate Lyiy's 
position as a novelist and as n prruM^ writ'?r t.<« to chaae the will-o'-the- 
wisp of theory over the monies of uncertainty ' (p. 85). En abordant le 
thMtrt', Mr Wilson est reprisd'une ardeur nouvolle; il constate que les 
pieces ont une importance aiitrement gmnde que le ronian: ' His plajv 
...greatly outweigh hi» novel Ixjth in uoKthetie and historical import- 
anco' (p. 85). On c«]^^^^ <[Uh va isiiivre I't^ttide d^titilk^, complot« ct 
dttfinitive qui, en efl'et, n'a j»a« encore i^ti^ ^crite sur les Comedies de 
Lyly : mais sur les 140 pages du livre, 4() senlement sont conaacr6ua & 
iin« i^tudo rnpide du thoAtre; encore de\Tnit-nn dMuiru de c« total 
9 pages teiuplies par une esquisse du drame avant Lyly et qnelquca 
truiBinea sur les tuoraliUii. Pendant deux pages (102 — .1), Vauteur 
immtre I'iniiiorbiuK'e de rallegorie dana ta lllteinlure ^lisabethaine ; et, 
nia foi, il le iaxt ti-es bion ; inais c'ost pour arriver k cette conclusion 



I 
I 

I 




Review 



331 



srtante que 'it ib quit** ]ioH!ublc, however, to read and enjov these 
{4aya without a sHspicion of any inner meaning.. .the superficial inter- 
]>n>tation of each play is all that noed engage niir nttontioii and we 
ehflll content odrsetves with bric-Hy iudirnting thi.- actual incident which 
it Rymhoiine-s' (p. 104). Aprts cette d4'-clrtration do principp, rien n'i«t 

filus facile t|uc aWutLmutur le uuint Iv plus di'liL-at vi k- plus ditlicile de 
A critique lylionnf: rexplieiitiuii dv I'all^j^rio d'&iidiiuiuii. Mr Wilson 
lilude ](.■ prublvtau d'uD sciil luot : 'The whole (juc!«tion ix one of such 
obscurity mid of so lilili* iiiiiH>rlHui^e from the i»oint of view of my 
argument, that 1 shall ncit attempt to t-nU'r further inW it' (p. 100). 

MaiH niille piirt Ins defiiillances dp Mr Wilson np Hont plus regret- 
tables que dans le c*is de I'euphui^ute. Ici encore, il a reconnu nue 'no 
critic, in my opinion, has as yet solved the problem of origiuH with any 
olaina to finality ' (p. 21) ; it a tStt' d6duit par cutte quuation, et. sous le 
coup de son enthousiasme, il a iDcontcstableiuent avaue*^ la resolution 
dii probl^me. D'un bel elan, il a einport6 d'assaut lo« dcus positions 
importautes dont it Taut ^tre maltre avuit de cuu<|ui^rir la v^rite. II a 
tout d'abord pone un rude coup ji la th^orie Land nianu-(iue vara, en 
moritnml que Berueret i-crivail ouphuismL- dt\s I.')24.c'esl-A.-d!rc cinq aiis 
avant la publicjLtion du Lihro Avreo; que, par suite, I'euphuijime etnit 
en germe daiia la laiigue anglaise et cjii'il »e sentit vraifiPinblablement 
d^vuloppo iudupeuduiuDient de toute influence f^trangere. II a, en 
second lieu, reanirmt^ cette v^rit^ que I'on devait chercher les sources 
de ce parler dans rhuinaninme. An-ive h cc point, Mr Wilson o'avait 
qu'uD ir^ petis etfori A faire pour attuindrc k la solution dt^in^e. S'il 
Avait tant twit pou )>oiiksi- t!(^-« rochorchcs, il aurait acquis la preuve qu6 
tons lea vluiuunifi coiislitutifs de I't-uphuisnie (antithj»e, panillt^liHmc. 
ftUit^ratioD et rime) so trouvent jmriaitement dt^velopp^s, aur environs 
de IfilO. datw More ct dans Fi-sher, pour ne citer que les exemple-s Ics 
plus uaraet^ristiqiiea Et enfin, il no fallait pas so contenter d'aHinaer, 
apres tant d'autpBa. que Tenphuisine pmvenait de I'untriquit^, il fallait 
ausRt le prouvcr. Ici encort*. qu<;lques reohcrc^hes compU^nientaircs 
saffiaaientl Si Mr Wilson avaib interrog^ los <.^rivaiiiH lutius ut grecs, il 
aurait d(^uvert sans peini? que I'ontithlBo, le paralli^Uxme, la rime (soit 
k U Gn. Boit au oommeQcemeDt du mot, ce qui roriont 4 dire ralliidru- 
tioD et la nuie) et les jcux de mots sunt tea procM^ de style qui 
caract^risent OorgiuA et sou ^-ole ; ct que ces proc^^ n'ont pao cew^ 
d'etre Itis marques distiuetives de lu prose artistiquo et nni^o daus toute 
raultquit^. On les trouve notainment dans Ijiuenite, Herwlote, Thucy- 
dide, Ntfpos, Cic^ron. .S^nt-uue, Arhillt^s Talius, ApnleiiiK &o. kc. Si 
Ton Bonge que Isocrate, Ciceron et W^neque, les trois auteurs chez 
lesquels cea proc^^ ap[}araiHsent le plus fn^qiiemmcnt. sont pr^is<^- 
ment les auteurs qui !9ont le plus lus pendant la Renaifleaaoc, en Angle- 
terre, comme dans le reste de TEurripe, bien des mjratiKe s'^claircisBent: 
quoi de plus naturel que les t^onvain» angUi», le jour oit ils ^-prouvf-reut 
le besoin d'orner leur proao encore gauche, alent emprunte dos pruc^«!-s 
do Btylo k leiirs auteurs favoris, auxquels d'ajlleurs its ^taient rodcvables 
de ce goQt pour la proae urn&i t Et »i les fuphuUtea anglais offrent 



SHELLEY AND M. G. LEWIS. 



The influence of M, G. Lewis' novv] The Monk upon ShcUcy is ac 
present, tor the most part, an unwritten chapter in hia development 
aa a poet and & thinker. Mention hm often hoen made of the result 
produced by the inflnence of the so-called ' Kcnaissnnce of Wonder' 
upon him: but the remarks denling with Lewis in this connection have 
be(^n very Hcanty. They have rnoBtly consifited in statements to the 
effect thftl Shollfy attempted in hU earliest works to revive the uncouth 
horrors of the Monk, and that his pnidiictions of this period bear traces 
of tho vapid ueiitiiimntality and disordcrL-d imagination of its author. 
Medwin, tiodwin, Jefferson Hogg, and Peacock, who Inughe^l at their 
friend for h'm tmnscendentalisiii, which about thiK time, as the 
first named has Rtatcd, ' nui im bandits, c««i1uk, ruined lowers, wild 
mountains, litorms and apparitions.' all made no direct allusioD to any 
close connection bt-tweeii the workn of the two author^). And it hag 
been thf same with nearly all the many critics who have followed 
them. Thin was first dune by the late Dr Oamett in his publicntion 
of the Orlffimtl Poetri/ by Victvr itnd Vazirt (Loudon and New York, 
1898). The curious light thrown by him on this subject has not yet 
been adequately explained. In the course of the search for the Toluuie, 
which its editor has cidled 'a bibliograjtliical ovcnt ii» rare as, accunltng' 
to Petnirch, the appearance of a L»ura in heaven.' Profe-ssor Dowden 
discovere*! a short critique nf it in the Hriti^k Critk, while aDother 
geotleiuan found a few Hues of a similar purport in another Journal. 
Strange to say, a long article in the Litrrarif Panoravia (Vol. vill. 
p. 10i)4), containing copious cxtructa from uiaoy of the pucius, was 
entirely overlooked, and has up to the present nut been mentioned. 
The discovery of the missing vohime by a member of the Shelley 
family has, however, now deprived thL- hist-mcnbiomH] luticle of the 
great importance it would otherwise possess. The reason of Shelley's 
withdmwal of his so-callwi Oi-iginal I'uevie was due to his publisher 
Stuckdjile fiudiug one of Monk Lewis' poeiue printed verbatim in its 



I 



A. B. YOUNG 



823 



pages. Aa Gamett woh unable to wicertain which ]>oetn this was, so 
much HO that he confeases 'some doubt whether Stockdale's testimoDj' 
ig entirely reliable.' am! made sundry ginaweH which an? all incorrect, 
it may be hert^ stated that the poem in question is undoubtedly Saint 
Edmund's Eve, pp. 37 — 4f4, which itt copiud word for word from a poem 
entiited TVmt Black Catwii o/ Klmhim or tiatnt Edmund's Eve. from 
Lewi.s* Taleit of Terror. 1799 and 18()H editions. In additinn to this. 
Gomelt did not 5ud out that the sLbject- matter of the two uthur 
longeBt poems in the collection is derived nearly entirely from the 
saiiiu author. The poem Gkasta. pp. 50-62 — the origin of the first 
stanza of which has been rightly explained to have been influenced by 
Chattorton — is nothing more ur less than a vcrHificatiou by Shelley of 
the tale of Dnn flatjmond , The filetdiiig Nun. and the Wandering Jetif 
a» related in the Monk, with Home minor nltcratioivt. Tfie Reoenge, 
pp. 45 — 40, is due to the story of the CttsUe of Lindertberg and the 
haliud (if Aioaco the Brave, in thi; same romance. These {iart« of the 
Monk are themselves derived from Clerman sources, Aa a specimen 
of Hhelley's plagiarism, and as an illustration of LvwiH acting nn a 
mediary of Gennan inflnenct; on the former's youthful works, the 
folton'ing nineteenth stanza froni QhasUi can serve : — 

TLoii art luiiip, ntid I am thiiie^ 
Till the sinking nf tliu v«rl<^. 
I iitn lliiii>\ luiil thuii urt inim<^ 
Till in riiiu duutli tK liurlwt. 

which i« taken from the corresponding Hues in the Mvnki — 

Agiieit ! A^tiiut ! ihoii iirt tuiiiu, 
Agn«s ! AgueM ! 1 iini tliiiie, 
III my veiiiii wh)I« blood aball toll, 
Thuii lurt iiiin?! I am thiii« I 
Thine my iwdy I thine my xool 1 

which in their tnm — uit the whole story of the Bleeding Nun, of which 

they form a pai-t— go back upon one of Uuaeus' taii^- tales called Die 

EMfiUtntfuj ;— 

K-h lidlx- (lieb. nifl Iwn ich dich ; 
feiii Liulibfti «3u bint mcin, 
f«in LivlH^htiii id) l<iii dein, 

liu lueiti. kit d«iii. 

mit L«ib uuil Se«le. 

It ap[M:iu^ to the writ«r that a careful investigatioa of the contcats 
of Shelley's other juvenile works, with those oi Lewis, would «how that 
he wiui largely uidebt'ed to thia romanticist, not only as has hitherto 
been supposed &a regards style, but also as regards sul>j«ct-iuatt«r. 
BuxtOQ Fonnau uul other critics have coajectured, Jbr incrtuicD, tliat 



334 



Hwiews 



(p. 7): 'Wc have every rmMn for believing thnt L^Iy was still his 
sccrut^l^ibK^^MfiBC Dailleura, U est certain que. en 1§87, L^-1^- ^taib 
encoiv ati servico de Do Voro, car, dans un rWumcnt. dat^ 10 loai 
1587, conserve au Rt-aiid Offict; (Cloac Rolls. 29 Eliit. j.. 24), John Lyly 
eat d^sigu^ 6»uh le litre do 'servaunU* to thi> righle honurable the 
I'^le of Oxenfordfi." 

Je iiaASf! Hoii.t .silenc-i* plii»<i(>ur!t out, nu Mr Wilson a endcKS^ des 
hypotheses ^niise^ par ses predecesseHrs, sans in^me en verifier la pos- 
sibility, bion qH'il 8« serve a t-mit itwtant do crs hypothesis pour Stayer 
sea jtigeiueuli. 

Maigr^ c«8 impcrtbctioDR. et bii>n rju'i] soit, dans la pluparl dug cas, 
eu returd siir luii trnvaiix do JMj- BomI, fi- liviv nc- «t!n pis iuutilt?. C'csfc 
en stiiiiiut:' lu piviiii^arL' i^'liidL' dV^iisL'tublt* Hur Lvly, ct cela ineiue cou- 
«tituc itDC ^tii))c dimK la ctitirjur lylienne. lui cc qui touchu Ji I'hluphii- 
ianie, Mr Wilson pent etrv Ber d'avoir pre|»Bre la nmle pour lea etudes 
^ui suivront Kufin. si la ruethode et k fond doonent prise k la 
s6v^rit4^, je Hiiis li«urenx de dire combien, au contmire. la fonnc m^nte 
toils le» ^loges: Mr Wilson possedc le etyle ardent et color^ auquel ae 
reooDnaissent iniaillibletnent ceux qut mm nppel^s k »*• distinguer en 
litt&vture et je ne ecxais pas ^tonuv ai, un jour, il attuigoait h. uue 
place tr^ honorable dans la criliijue ^lizab^thaioe. 

Alhert Fecillebat. 



On Ten Plaif$ of Skakespeare. By Stopfokd A. Brooke, Loodou: 
Constable, 1905. 8vo, 318 pp. 

A second title of Mr Stitpford Bnwke's book m ■ Lectures i>n Shake* 
speare.' and we opine that it wa.s as lecture-s that the criticisniB now 
published were written. Aflditions may have been made to them, but 
tbey still bear their birthmark. As lectures, they were no doubt 
charming: as criticisms to be read, they are sometnnes un^tis^ring. 
Writing them as lockires, Mr Bmoke would aeem to have dufccruiinwl 
to restrict hiaiself closely to Shakt^gpoare's text, and aay &a little as 
possible upon the relation which a particular play might b^tar to some 
preceding work. And, no doubt, for tlie immediate purpose ihiH was 
Divit, Bnt when wr read thone lectures at leisure, we feci it to he a 
defect in Mr Brooke that he shows a play almost 8ol«>ly ns a finished 
work, never in the pmceaa of being fasliioned by the artist's hand Eruin 
the stubbdrn marble. We need only refer to Mr Brooke's treatment of 
Richard III as a thing in itself, without regard to the previous existence 
of Greek tragedy, of a Maehiavelli or a Marlowe, ana to his treatment 
of Ariel at! a creation of Shakespeare's bruin without any reference to 
Stnichey's account of the wreck of th(» ' Sea-venture ' when ' Sir Geotgv 
Summers being upon the w»k-li Imd an apparition of u little rouod 
light, like a faint star, trembling and sli'etiuiing along with a sparkling 
blaze, half the hcieht upon the main-inaat, and shooting eometiraes from 
shroud to shroud. The oddest exam])le of Mr Brooke's unbistorical 




Revietvs 



335 



method however is his opening passnge on The Merchant of Venice: 
"This play ia niiuie up of two separate Bt-orips wovsn together by iha 
dmmntist .. .Btilh nC them c«me aown from nnciect tiinesL These are 
the ston,' of" tho crinjl Jow and hit* debtor. anH the story of the hpiretw, 
her suitors, find t^hu caskets. Thtij itmm to hatie hud a kind o/cfiftnioal 
it^tixt>f /or one anoOier, for it ia sdid that they were coiubinod in a lost, 
piny called The .lew, actt-d bL-fore 1579.' So fur itt it (roiu occurring 
t« him thai Shakespearw pr-ubably treated two Htories in combination 
becaii»e he found tnein alnratly wnnhineiJ t« his hiind, that wl' do 
not doubt that if Dryden htwl writt*?n a Ial«r Merchant of Venie^, 
Mr Stopford Brooke? would have diBcovered in it a fresh example of 
chemical ntiinity. 

There \b much that is admirable in Mr Brooke's criticism, much 
Cbat bears the impress of a delicate and sciwitive tempemmeitt. He 
givcH a hLviuti fully sympathetic uceount of Kill);: Richard U. in which 
ouf> can only find fault with the notv on p. 90, in which he seems to see 
no dificrvace in lune between BulingbrokcH manly patriotism, 

awMt anil, Adieu, 
My rnoth*r niwl my nufw, thul bwirs" me yot, 

and Riehnni's sentimental and patronizing tone, 

Dmr nartli, I do iMtliite thcu witlt my li&nd, 

followed by 

w^Afiin^ RUiiliiig, vre«t I theo, my eatth 
And in ttioe ravoura with my rayni bAntlx^ 

But une comes across many pieces of really helpfiil criticism. We 
need only mention the passage on p. C!) beg;mning 'certain soliloquies 
roiwt b« conmderecl an rppresenting thought, not sptu'ch"; the dictum 
on p. 108, ' the moKt remarkable thing in Kichard til's character, as 
SbaKespeare conceived it, is that he is devoid of the least emotion of 
love ■; the remark about Loi-euzo's talk on p. 131 — ' where love of music 
U the test of g(X)dness in man. of ^rentl*.-ui.-8»i in beaslH. Pure Renais- 
sance that 1 pure Florentine I ' — his defence of the realiatic I*oi-ter-scone 
in Macbeth, his roruark that Ariel i« never bniught int<j contact with 
Miranda — ' she docs not 90cm to know of his existcnco ' — and this other 
tlint the coiufuiracy of Stephnno and Trinculo to slay I'mspcro and be 
kinw of tho island ■ is the ludicrous image of the con»i>iracy of Sobaatian 
ana Antonio to slay Alonzo, even of the conspiracy in the past which 
drove ProB|)ero from hin throne.' 

On the othiT hand, na is natural, certain views of Mr Brooke's do 
not commend theniHolvet*, at least to us. 

There is sui'ely some lack of humour shown in the remark on p. 29 ; 
' Absurd as he [Bottom] is, Thosous and Uippolyta are quite moved 
by his acting — 

TAt. Thui pkMion &nd tti« dtAtk ofa dwr &irud would go near to oiako » mao 
lookattd. 

£fip. BmIikw my heart, but I pitj tbo ana.' 



336 



Uttwws 



Mr Braoku in only itaying what man^' havr said bcforu* wbcQ be 
writes (p. 162), • The furiwt of Anleti, by a hicky coincidunctf of oftine, 
piitH 118 in mind of an Knglish forest.' nut this aasociafeion of iduas is 
surely <iuit(> unneci:>t(iutrv'- Hun* uiiuiy I^MiHuneiv in ShakettpearuH time 
or ours iiAvt; t-ver heard uf the forest of Anlt?n iu Warwickshire i where 
does the onlinnry man cncdunUT it except in bo«)ks of ShakesjR'are 
biography 'i The forest of Ai-dL-nuL-s i». and no doubt was. far better 
known, and no on£' who harl r«ad Lodgv's talc or had followed tbe 
eariiur aci-nrs of As I'ou Lilie It coulti KUpiKist; tht; KKtiv to be set in 
E«f{l'*-utl. Wbyn Mr Krouke ){»>es on in bis airy manner, " while he 
[the poet] is there in hi^ dream, olivc-treiw slip into tbc [lorthvin 
forest, anil ])nlm.tri>e« recrcive the love-rhymes of Orlando,' Ik- is again 
shutting hie eyes to the fact that much that is in Shakespeare is not 
pure inspimtion or invention, but tak^n ovvr from his " soiirou.' 

Mr Brooko's reading of the cbaractt-rs of ilacbeth aitd Lady Macbeth 
does not quite satisfy iw, but wt dinagi-e* with him mnst in bis 
treatment o( Curwlnnui. Hin- hi: seems to Ikt k-d away by his demo- 
cratic BympaihiL-M into giving a v^iy Hiraiued reprvaeutation tif Shake- 
Bpoare's attitude towards his characu-i-s. ' We are convinced that he had 
no admiration, but all but contempt for Coriolanim.' ' Shakespeare has 
made the leaders of the people's cauae [i.e. the tribunea] the only hope 
and trust, and thf quiet powtrM, of thp eity.* "The Ieaiiers..-Hro repre- 
sented throughout as men who have kept their head^; cool, t«mperat«. 
firudent. but resolute to attain their end ; and using steadily ana ruth- 
oesly the bi-st means for this end." No word, wc »ce, of disapprcival. 
even when the means used are the calculated exaaiwration of a noble 
nature into a betrayal of its weakiiess. 

We do ni)t know if Mr Brooke has any peculiar ?iew8 on the 
chronology of Shakespeare's piav*. If he has not, it is hard l.o under- 
ntand a s(:nlcnc!e on n. 6ti: 'He i.s parsing out of [thi^i temper] in 
Coriolanna and in Julius Caemir he has emerged from it.' On p. 299 
the first qiintatinn is giv(>n incorrectly. 

Mr Bnioke's Htyle \» genenUly fluid, coloured and chanuing. Occa- 
sionally however ne indulges in strange capriccios. What are we to 
think of tbe sentence (p. 74), 'Had [this patriotism] not been 80 
damaged by the piratett uhu look it up eagerly because it so spread- 
eagled England, it would have come down to us less injure<l by 
pawMges unworthy of Sliakespeare's dignity'? or IhiM (p. 122), 'As we 
read it, we should sit in his soul, below the words' i or this (p. ITl), 
'There an; artists who would Aecoms ill if they did not relieve thvm- 
sclveK of Home of the host of Conceptions which beset them and call 
aloud for fonu ' >. This metaphor is evidently medical — more we 
cannot say. 

But a writer and critic of Mr Stopford Brooke's eminenoe must Dot 
be treated with profiine jesting. All students of English titemturc nwv 
him much; perhaps no living Englishman has dout: more to create au 
inieltigent love of our literature m wide circles of our people. In thii» 
lat)t book he has not indeed given us anything so sure and masterly and 



I 
I 



I 
I 




BevieiM 



337 



brilliatit ax thmte mIx nhort lecture!) on .ShAk(<speare by Tod Brink, 
which fill iiB with over-new aadneee at th« premature lo** of thai 
wondurfiil critic: but he hfiK at least given us much that wa» vreW 
worth hie printinj; aud is wfll worth our thoughtful attention. 

O. C. MofjKE Smith. 



Did Shal'espeare write "Titus Androuicus' / A Studj' in EHKibelhan 
Literature. By J. M. KuiiKKl>iOS. London: Watts & Co., li)05. 
Sto, u + 255 pp. 

Mr Rabortnon has aitiickod ono of thi^ thomiost probiuuis of Eliza- 
btitiiaii dmuiatic hi»t»r)' with u vigour ami thoroughness which cannot 
but conimuiid thi? deopL-st rfS]M>et.. His empbatie denial th.it Shake- 
spcaro can have htid any cnnaidt-rable hand in the pnidiietion i»f the 
crude aud wvoliin;^ eeriiw of hnmiiw which make up the play of Tilwt \a 
aupjKirteil by a minute knowledge of the plays of the period which 
ffivejf hitn na immenHe advantage over most of the writers who have 
been recently concumwl with the auhJL-cl. fur iuMtatK-v Sir H. B<;llysc 
Bnildim. Hjs work, indood. even whew uui'ronvincinjf, stands yot in 
most welcome and rofri.-ahing eontnwb lo that of the tnidilinnnlistM, who, 
m the peimms of their foroDiost repFOHentativeH, aru for tliu luoiuBUt, 
though it ie to bu hupud only temporarily and accidentally, identified 
with the school of mere luicritical bluster. 

In the cQurno of his study Mr lt«>bert3on has dealt severely if 
humor'nisly with several of the arguments in Mr Baildon's work, out 
two minor p»int'i! on which he ha:^ nut touched arc so significant that 
DO excusi* is needed fur nii^utiouing them hen^ For ono thing 
Mr Boildon directs several pages of critical in-clcvancc at the late 
01 Gnisart fiir attribmitig Titus to one Georgi' Greene. Dr GroHart 
may haw certain literary sins to answer for, but it need hardily be 
aaid that this jmrtieulHr absurdity i.s not among them. KlKewherc 
Mr Baildon writes, concerning the companies mentioned on the title- 
nages nf Titu^. 'The change fmm G^sex in [the 1594] edition to Sussex 
in that of moo marks the disgrace and fall of the fonner ambitious 
noble.' The ' Essex ' of 1594 is univcnwily admitied to be a niisprtut. 
No company is known to have acted under the name lat«r than 1678, 
and Heiislowe's alli-geil n-fL-rence to * the* Eurle of Kssl-x, his men ' existe 
nowhere but in Mr Baildon'f* imagination, 

Mr RabiTlaoiiH work ia far more than a mere study of Titus. It is 
au elaborate invcstigiitiuu into the authorship of that considerable bf»dy 
of anonymous drnniii vagui'ly cnnnec^teri with the namen of Greene and 
Peele, but in which it is (in general groumLi likely enough that Marlowe, 
Kyd, and Lodge may also have had a share, as well aa into the dift- 
tinetivf t{>ntur<>H of the wi>rU of each of tlit-se writers. The jilays chieHv 
discussed are naturally SeUiuus and Locrtne. alsft Lexr, Stlwani Jit, 
Alphonftu* of German}/, SiAimnn and F&'Sfiin, and Arden of Feversham. 

Id diacuasing the authorship of Tittuf Mr Robertson rightly tteta out 



888 



Reviews 



from the position : ' There are probably manr who, like the pretect 

^wribr. oerer had the sensation of reading Shakespeare's veive to a 

■ingle line of it' On whatever groands uid in whatever sense the 

ritioo may ulliimitcly bu d««ta«d, it xhuuld be clearly undeivtood 
those who dt^Diaod that the traditional ascnptii>n should be mb- 
jectt-d to rluHv ncrutiny do no on internal gruund^t of style, and Dot, as 
lfa« Shakeepi-arian advocate) are fond of pivieiMling. upon any f<iich 
ngae aathi>rity hk the Rareocroft tradition. TK>:y are not likely. 
therefere, to bv impresetl by the assertion, wiih which they are so oftea 
fitvoored, that ShAcspeares hand is patent and uianite»t throttg^urat 
the play, and they will heartily endorse )lr RobertAonn remark that, 
'if the habitual extolling of ineptitudes and oomiDonplaoes as "fine" 
and " Shakespearean " would settle the (jnestion, [Professor Collin.ij and 
Mr Baildon would liaic donu so many titans over. 

Thv imjuiry naturally fiills intu two sections dealing respectively 
with the *'xtemal and internal evjdvnce, both of which are importAnt, 
though the latter occu|iie!t, of ctmn*. by for the greater space. There 
arc nspecte of the external evidence which have not hitherto been 
rightly Q|jpn?(!iatpfl. ThiiH Mr Robertaon sfaows that against the two 
items of eridenoe in favour of the Shokegpearian anthorebip, the attri- 
bittion by Mercs and the incltiMion in the folio, both of which ore 
subject to discount, munt be xet the fhct that the play waa ru^larly 
pablisbed three times during Shakc^peai'e's lifi^timc without his name, 
the significance' of which fins been misse<l by previniLt writcrc. and 
further that it was uHfpnally [terfomted by a company with which 
Shakespeare was never connected. These poiut8 deserve the caretul 
comiiilLTatton of iichrtlani, even though the writer may at times have 
Btniined his argument both in seeking to discount the Shakt-^fiearian 
evidence and in einphii»iKing that on the other Hide. 'iliUH il is untrue 
that 'On no groiinifH can we say that a bare ascription by [Meres] 
countfl for iituch more than an ascription by a contemporary' publisher, 
sinoe h'm eviilence is, at least, disinterested. Again, further nctjuaint- 
ADce with the modes of thought geneml among EliEabethan authors, 
with which Mr Roliertson shows hiiiit^iolf a little unfamiliar, may porhapa 
induce him to molifv fits viuw that the fact of Hhukespciirc s]ieimiag of 
hi» Venus and Ailuin's in lo!)8 hk ' the tir»t heire uf my invention ' must 
be neccNiarily held to priKslade the jHiHMihility of his having aln.-ady 
been the sole author ot acted plays. 

It IH when we come to the internal evidence that the valoe of 
Mr Robertson's method becomes apjiarent. The diligence with which 
be has sought out the use of mre words and distinctive expressions or 
ttims of pnrnse as well as the neciirrence of particular thoughts and 
metaphors in a large field of dramatic liteniMtre is beyond praise. It 
is scarcely necessary to say that his results are of the first importance. 
NevertbelcsB it must be adimtted that he drives his orgumeats tather 
haitl. An adverse critic might not unreasonably maitiiaiu that he 
rcdvie<* hitt method ad ahsurdHiit by domonstratioc the fM-ewoce of 
everybody's hand in vwry play. Of counte, it ntMju not be supposed 



I 

4 



Beviewi 



339 



that whenever Mr RoWrtson says thai 8«me phra«* points to Pcele he 
Tneans to nseert that Pe«le did actufllly "Kritv the- pafisaj|[e in question, 
though it in not RlwavK vatry clear t-xactly how Car he do«» intend lo go. 
He certainly appears Uk) fonci of supposing a divideii aiitht)rBhip, 'l^o 
method he has arloptifd. and which he uppties with much tfkill, may l>c 
of the greftt<'st ser^-icc in apportioning wnrk where, on independent 
KTOunda of style, or on external evidenct?, a composite authorship ia 
demon8t,mble, but it must Ik" clenrly iimien»t.o<Ml trat such deniongtra- 
tion \» an aiitecL-dent niM,-essity. In the case now before us. that of 
Titus Andronicm, it may well be questioned whether the hand of more 
than one original author oin be traced. Nor is it alwayfi enay to accept 
Mr Roberlsun's leati; as deeiuive. Some remlers will probably hesitata 
over his asrriptinn of iSiV Cl^amon to Peele, ngainst the view held in 
Bommon by twn such (liverse critics as Mr Fleay and Mr Bulleu: while 
others will catch at a doubt expressed by the author himself as to 
■ whether the hands of [Greene nnd Peele] can be distinguished,' at any 
taiA.' upon the lines propoeied. 

The metrical teste nre open to the sainc criticism. Vahisble in 
themselven. ihuir appUcatiun leadtt to for too gre«4. a L-omplicutiuD in 
the way uf hypothetical eoUabunttiuns and revisions. To be of any 
service they nqiiin^ tti he applied <iver a large field ; the octtiirreiice of 
Huvemi examples of a metrical iKwuliarity close together prissutffies little 
or no significance. If a m>et cnances to employ two feminine endings 
within a few lines the distinctive rhrthm which results will uncon- 
acioualy fix ileelf in his mind and he will teiul tn reproduce it. Thus 
coiLseculive seones, eii|K>cially where the (Immatic lone di6*eTs, may 
show verj' different [lerccnUiges, and the absence or preisvnce of double 
eudiugH in siteecheti uf thirty or forty lines cannot be utied b» an argu- 
ment for collaboration or revision. 

To return to the problem nf Titus. Even apart from any ptwitive 
arguments which he is abte to adduce in suppitrt of a particular 
attribution, Mr HobertKon has little diflicultv m demolishing those 
brought forward in favour of Shaki-spearv's uuthorehip. Every th<jiight 
and expression which has been claimed as dittliuetively Shakespearian 
is shown lo be common to other authors, notnbly Grecut- and Pecle. 
The ' ptietiml' paietages. where Dut contemptible, are yet easily within 
the reach of the author of Friar liaeon and James 1 1 even iu his less 
mature yeant. This is importnut, for it is rlittieult to sup|K)se that 
TUi'fi. if written by Oreene, belonged to the same peri<.>d as what may 
be callwl his r«mfinti<' mimti'qiu'ci's. It cannot be di.ssiiciat**! from the 
cnidities of Aljifivnuu/t and Orlando, and must he dated at latest l.'idO, 
There is one point, however, to which .Mr Robertson has devoted less 
attention than it deserves, and f>f which his troAtinent is lew certain. 
This is the disliiic lively literary quulity, the feeling for language, for 
the value of wiinJs, which writ<T8 posse!«s in ven," diflercint degrees, and 
which is often curiwusly independent of their genend jMn-tic [xiwerB. 
Greene, in his earlier work at least, is ahm^t entirely devoid uf the 
gift; he habitually uses the moot violent word which the sense will 



lill 



340 Reviews 

admit with ineffective forcefulness ; while Shakespeare, for instance, 
delights in investing a quite Bimple and commoDpIace word with special 
significance, by placing it in unfamiliar conjunctions. Other authors 
have this sense of word-value in different degrees. It is possible that 
Mr Robertson may himself be a little deficient in purely literary 
feeling — his own style is often surprising — for he finds 'substantially 
the same touch ' in the finest speeches of Edward III and in certain 

Ciages from Qreene, where most readers will detect a very different 
d. Of Greene's plays, none but Friar Bacon will supply instances 
of the literaiy feeling in question, and even here, though one or two of 
the passages are striking, they are very sparse. Thus : 

Love ought to creepe as doth the di&Ia shade ; 

Why, thinks King Henries sonne that Uargreta love 
Hangs in the UDcertaine balLance of proud time ! 

And schoUers seemely in their grave attire. 
Learned in searching principleti of art. 

Instances of this artistic use of words are not uncommon in Titus. 
The following examples from sc. i. will serve : 

Princes, that strive by factiont and bi/ friend* 
Ambitiouaty for rule and empery, 
Know that the people of Borne, for whom we stand 
A gpecial party, have by corainon voice, Sec 

There areet in gUence, as the dead are wont, 
And steep in peace, alain in your countrj-'s wars ! 
sacred receptacle of my joys, 
Sieeet cell of virtue and nobility, &c. 

Wilt thou draw near the nature of the gods ? 
Draw near them then in being merciful. 

Of course it does not in the least follow that Shakespeare wrote these 
lines — there is nothing particularly Shakespearian about them — but 
surely Greene did not, unless he revised the work at the very end of his 
life. There are dramatic touches too which seem beyond him, in 
particular the one really great line in the play, Titus' cry : 

When will this fearful slumber have an end ? 

Here if anywhere is the master hand, and yet it may be remarked that 
a similar, if less effective, line occurs in the old play of Leir — 

Am I awake, or is it but a dreame? — 

and that it is there introduced in a very similar connection. 

Mr Robertson's own summary of his conclusions is worth quoting. 
' The probability is that between 1590 and 1592 Greene revised or 
expanded an older play, in which Peele had already a lai^e share ; but 
there is the alternative possibility that Peele revised an old play by 
Greene and Kyd. The fresh matter, or revision, which in 1594 caused 



Reviews 



341 



the play to figure as new, may again have becm by I^e^Ie, or by Kyd, or 
by I>xlge ; but the amount contnbuted by either of the two last named 
to the present play io .small, though it is somewhat likely that Kyd had 
a hand earlier m shaping the plot.... Any reWsion [Sh*alc«ipenre] gave 
it appears to have lieen limited to making the lines scan; and even 
this is not carofiilly done,' This last rcmApk. he it said with all respect, 
is futile. Orueno and Pl-i^Il- wei>! pt^i-fectly aXAv in make their lines 
scan it' they chose to; it was quite unneceasan- to ct»II in Shakespeare, 
UJid moreover the iict«rs and tne audience probably cared little. But 
the evidence is, indi^^d, fai- too uncertain to supptM any Hiich eluborate 
concliiinion, thongh there may be no improbability alwut any particular 
portion of it. Of coiii-se, if thfi play wns writti>n liy Ore<?ne, who ditjd 
m I5!I2, it must have been revised in 1594, since it then a^mears afi new 
and containa, moreover, lines from Pedes Honour of the OaTtar of the 
year before. The opiiiiuii to which the reviewer himself inclines is that 
Peolo, who while in some ways inferior to Greene not seldom displays n 
finer literary wfiist;, wiw quite cafmble of writing thti whole piny. This 
is eert)»iidy the eauiest way of accounting for the abovu-iueutioued 
borrowings, hmt nuinlwl out by Mr CrawfoiYJ, ]n vifw. bowevrr, of the 
tiiulition connecting the piece with the name of Shakesjieare, it Is not 
impo.<«)li]e to see his hand in certain passages and to suppose that, in a 
HHIM-Tfieial revbdon, he inevitably here and there introduced a more 
delicate literary touch, while uowht;i-e <;u)ideHC«;iidii)g to embroider 
the oitten web with flowers of his own poetic faney. This iwision may 
vonc<:ivably have incltidird tb; addition of the sewmd Rcem- of Act 111, 
which itt found in the folio but not iu the ijuartoH, though the language 
is in no way distinctively Hhakespeaj-inn. On this supposition, the 
sulxtance of the play may well have been written by Oreene about 151KI. 
Nevertheless, though it seems impossible to accept Mr Robertson's 
argument in it« entirety, his main conclusions may bo recognised ax 
sound, and it mu»t not< be nupi^jsi'd from what has Ih^l-u naid abt>ve, 
tha.t his treatme|it of this difficult uud involved queulion is iu thi' least 
dogmatic. He iis probably himself perfectly aware of the weak jKiint^ 
in his urgumuut and is not likely to take it in l>ad part if other Hturlents 
liul to follow him in everj' train of reasoning. It is to be hoped that 
h\A work will have an appreciahli' elfect in bringing critical opinion 
back to the naner views of Theobald, Johtison, and Malone, from the 
tniditioiiali.st [Kwition. which is after all a recent iiupt>rtation fi\>m 
(.u;noany. Meanwhile he ha.-* produced a work which is not only uf 
value to the Shakespearian student, but which will prove iudisjieiis- 
able to anyone whose work oi' interest happens to he in that most 
chaotic pei-iod of the early drama, the decade or so that precedetl the 
publication of J'itus Andi'fjmcui. 

W. W. Orbo. 



342 



E^viewa 



Orthographu. Lautgebumj und WorlhUtiung tn den Werktn ^akesjteares. 
Von WiLHELM Fkaxz. Heidelberg: Winter, 1905. 8vo. ri + 
125 pp. 

Dr Franx hoe with this small volume completed his Shakespearean 
Onmmar, of which tht; iniiiii portion was iwucd iti 1899. Tae most 
interesting ami inHtructivc portions of the book aro thoBc dealing 
with the spelling anil phonology* of Shatcmpearc'H works. Here, at 
]t>H»t on tnf> phonolof^iwil side, Dr Fmnx has had the help of the 
works of Kliis awi Swf^t, and if he has not discovered much that i» 
new, he has selert^'c) for «» the points thiU arr- of interest for the 
student of the language of SbakcapL'tire, stpainting lh«m from much 
extmneniig niattor. 

The vxceiHling vimableuesH of Elizabethan spelling and the fact 
that we have oo piinted work uf SliiLke»[>i)Hre't3 definitely known to haT« 
Ihm-^ii rcviaeil by him prcvi-nt our arriving at any vorj' dcRnite con- 
cluninn in matlere of orthogra])hy. In niatLt-rs of phonology more cam 
be done. .ShakeHpearp's pronuneiatinn of Knglish was presiitnahly that 
of nioRt of hit* ('ontenipoinriej*, and, though it is nut likely that the 
normal isatioD of speech had been carried eo far as in modern literarj' 
English, it is probable that there was, nt least appro simat^ly, a standara 
of fitemrj- spL-eeh. What, this atfuidi»rd waa may b« dutermined with a 
good deal of aeeiimey fruin various gnimmariaiiH of the sixteenth and 
seventeenth centuries, who deal with the prcmuneiatidn of words in 
their own day. Douhts remain on many puinta; at times especially 
there are hinte of a struggle between popular tendencies and learoed 
pedantries as to the pronunciation of certain sound.'?, hut in all such 
cnat-s Pr Franz has set the evidence clearly before us and has left us to 
draw our own conclusions. 

In obaerving thi- :uam' differences of pronunciation Iwtwecn English 
of the seven ti-e nth and English of the twi-nlieth cfniituiy. one wonders 
how far ShakoKpean.', if he were to revisit the stage, would be able lo 
undemtand hiK uwn language on the li|i.H of Tree or BeiiHon. or again 
how far we should undorstand a performance of, say Much Ado, by tbe 
Elizabethan Stage Society, in which it* niemben* carried their oonsen-a- 
tiam to the extc-nt of restoring the phonologj* as well as the stflge-setting 
of iShakesjieare's plays. 

The final flection dealing with word-composition in Shakespooreiui 
English, though sound and scholarly, contains nothing that is strikingly 
new, and as regards a good deal of the voeabularj" of Shakespeare the 
fimil word cannot in many caaes bt- said until the JVew English Die 
art/ hae finished supplying us with the material on which to work. 



I 
I 



New Eiiylisk Diction- H 
I which to work. H 

AUI^K lilAWER. H 



Bemeies 



343 



I 
I 



Tfie Writiiiffs o/ AfiUihew Pi'ior. 1. Poems on Several Occasions. The 
Text "Mlit*"*! hv A. R. Waller (Caniliridr/e Emilinh fUnsnoa), 
Cambridge: University Prt-ss. 1905. 8vo, xxvi + 2GS pp. 

There has been no lack of critical interest in Mat. Priur's wnrk, from 
Johnmn'R Life clown tn Mr Diibson's sympathetit* " vigiietty,' but of 
critical t-ext^ It wihlM be hard l.u :<ay that ' nothing rt^mnint^d t^ bit 
dune,' Mr I>ihsi>ti ha>i givm us a. rtjirinl of ' Selecltwl Pijems,' aud 
Mr Brimley Ji>bu6on ji niodcTni^ieU vt-reion in the ' Al<line Poete.' 
Neither of ibose can b« uecvpted as substitutes for MttLn Ktupcndnus 
folio. Probably nothing will t^ake itn place, for 

Nothing went Ittforo *ij Hroal 
And nothing OrcAter c*n aiicceed, 

9B its author hiw said nf a cortjiin Tnonnrfrh. But iho folio, which 
would make a better luoniiiiient tu Prinr thu Riubus.sadur at Utrecht 
thiui tn Prior the bt-i^t of Knglaiid'g epigmnmistista, is difficult Co get 
and to handle. There wiwt therefore u clear ojiportHnity for Mr Waller 
to suuply an accnratw text for oindinary men at an ordinary price, 
rhirt ne hue done adinimbly. Hi- profeHseH to give no mort? than a 
good text, and he mocItsHllv oonfintw Iiih remarks to a short, prefatory 
biblingrnphical ' noU*.' The text repmdiicefi all the ' ongiiialiti«« ' 
of the folio — spelling, jmnetiiation. italics, brackets — to the gl-eat 
delight, I am mire, of Mr Dobaon. li calls for oo criticiBtn beyona the 
test of its eilitorinl ca^(^^ That it staiidH that test is its best praiso. 
The second. an<l concUiding. volume will contain, in a^ldition to the 
pnem>i whieli do not anpvar in the folio, tho new matter of the Prott 
J}ialogms fironi ]>oni liathV Ms. at Longleat. 

G. Oreoory .Smith. 



TkB Poetical Wvrh of William Bhd-f. A new anfl Verbatiin Text from 
the Manii«Tipt. Engntvetl and Lelterprcsw Origiuidtf. EdiLed by 
JciHS Sasipsos. Oxford: Clarendon Pres*. 1905. 8vo. xxxvi + 
384 pp. 

1%« Lyrical pQe>m of WxlUam Bhke. Text by John S.mipson. With 
an Iiitn«lHctinn bv W.41.TEB Ralkioii. Oxford; Clarenilon Press. 
1905. Hvo. 11 + iva pp. 

Though Mr Sainpaon and Mr llaleigh admit that the inner m}-steries 
of prophet Blake havo >x>t to be unnu'elled, it muiDt be said that they 
have uuue moR- than af] their pn-decesaors to help criticism in its dis- 
tracting task. Mr SamjJSon*« work is rmiitily, if not exclusively, toxtnal 
and bibliographi<»l. He argues fur the use of ' 'd' in some of Blake's 
participleii and for the luiviuitage of prunerviug the petal's " tygor' and 
'desart' — niceties whirh tlili;hrist and his fellowti despised, and which 
the aesthetic brethren may itfiise lo W of moment to ihe message of 
the mystic. But Mr Sampson has nonfidence in his accuracy, and he 
BW« that it ii* not an imj»ertiiieno*'. For, apart from tho guneral 




S44 



Rmeun 



reafiou thub a pout's text, when ib is avuilable in the original forms, is 
always thf best, there is atiipk* evidenue ihal such dytails won? intended, 
and thai thuv an oftiin hrlpl'iil to th» reading of thi> venw. Editorial care 
has shown tfiat though Blake was defiant i>f convenlitm iu all her kinds, 
he WM not lew consistent in his cniftj^nianship than he can he proved to 
bt? iti his Rymbolic n'vd. The volume contains all Blake's |K>etical work, 
the Poetical Sketches, the Swigsuf Initocenct and vj E.rfjeriejice. the songs 
from Ah fgUmd in the Mowt, and iKl- vv.-iti('s from tht* Rtisssetti and 
Pickfriug uss., the L<;tlfn*, and tht- Prujthttic Bnoka—vixch sccli-in being 
intHKlucLtl by an excelk*nt htsiorii.-&l introduutiun, and all by a Oenenu 
Prufiice. Th« Nutta* show a w:hoIarIy rtwHrve which cannul bi* too 
highly ot)tuwynd«d. Whan iht- Ei]il^)r go^n bi?yond his i-ecord of variants, 
and of the ecct-ntricities of the better known reprint*, he doc« $o w 
explain ditfieulties by Blake's own, wonis. Nearly all this aid (xiiues 
from the i'l-yphetic Books, with the intert-sting result that not merely 
are many obscui-e places in these books made clear by the [larHllelixnis 
of the poems, but that a consistency is disclosed throughout BUk«'a 
work, where hitherto it htul imt In-en f >und. ureven suspected. 'Readers 
of Blake's simpler poetry only,' says Mr Sampson, 'who, with Mr 
W. M- Roswlti. turn inmx tht? visionary writings after a "hasty and 
half-shuddering glance," wilt be ignorant of the consistency with which 
his aolf-in veil Led svsl«ni of mytholi>gy is expounded, and the ubsolulti 
UDiformity with wnich definite symbolical figures are used to oxprcH 
definite conceptions. While Blake hiLi benn at little ]iains to supply 
the world with a chart of hi.s mental voyagings, it i* impossible to study 
the prophetical writings without becoming aware of ttie extreme pre- 
cision of his mystical terminology.' 

This idea appears to be the basis of Mr Rjikigh's appreciation in 
the essay piv-fixeu to the littly volume of iR-lections which Mr Sampson 
\ian also prepanxl for the Oxfonl Fi-ess. Mr Ualeigh maintuins that 
'an absolute unity of character and purpose runtj through all,' and adda 
symptrthetically: 'If he [HlakeJ has sticceiHlod, here? and thert?. in 
raismg tho eiirtaJti on the life of things, it is llu^ |)art of wisdom and 
modraty to suppose that the vent of his work, which is dark to us, is not 
devoid of meaning.* Thus has criticism destroyed the old view which 
made Blake a literary Bedlamite. The obvious difficulties of Blake's 
test wotu only a partial excuse for this critical antipathy: the poet 
had instigated it by his claim to have ' cast asidt; fn)m Poetr>' all 
that is not inspiration.' But, as Mr Kaleigh points out, *a man who 
datvfl thus to trust hiniM-lf rjinnot hut be conaist^-nt, for iriconi^isti-ncy 
lies in infen'nces and arguments, not in tlie army of things seen. 
Blake would not niake use of anything borrowed from others.' Fn)ra 
this general position Mr Raleigh advances — if I intei-]>ret him rightly — 
to another wnich is not let» helpful to our undei's lauding of the poet. 
Blako is not only consistent, but he reveals a simple, we might say single, 

KUrpose or doctrine, and urges it from first to hist, iu his pta-ms and 
>tteni. and, appareutlv, in ni* Prujihutic Books. He is consumed by 
hatred of ' gencnUizatiun ' (' To generalize is to bv au idiot ') and of 



Reviews 



S45 



'Science,* as he calls Ri^ason and her rules; by it he fights for the 
Dree exereiae of th« 'Divin<> Arts of I-moffinatioti.' This destructive 
piirpewc, which h*- ajiplit-s to art. niorals, and society, Hun givfti him the 
name of anaivhist. But nnarehist- he is not, in the common hai-sh senee 
of thi- word. Hf is Uh) symputhfitir, Um rani-stnictive in aim, though his 
procvs8 of Diiwhing hiii i^nif ofWn aj>[M>nni to he but wanton hAVtic of 
every convention. His theory of life and art has much in common with 
Sht'fley's, Both show the same conception r>( tho motive force (»f poetry ; 
both makv thL- potjl a man of action ; and both in their scL-mingly 
negative attitudes arr hut t-ndfavouring to remove ihu (ihHcUle« which 
clog thiit freer nmveinent which is lo ibcin thi" imt-- and only jnwitive tact 
in thL- whole HHuut nf human tni^rgy. Mr KaK-igh incidenlJilly i-efi^rn to 
Shidlcy whiTii hi; asks, and bricHy answent, the question whethirr Blake's 
' revolutionjirj' theulogj- ' Li idBntieal with Shelley's, This in but part of 
a wider question, which, on ita a«ithetic side alone, would have been 
pertinent to an edition of Blako's lyrical poems. 

It in easy to discover Blake's limiUktious. There in his unluii-nt:s8 to 
the classical habit of mind, the result nf his ignorance of it« meaning 
ae much a» uf hia excessive individualiaiu. It ia obvious, us Mr RiUuigh 
pointK out, that classical discipline 'was exactly what Blake moac 
needed.' In another way. t«io, the poet hiw been ctmfmimiird by hift 
own mitsaionary enthusinMn. In condesoeudiog to satire, as an ally 
iu hia attack on the enpiimbmnces of ' Sctenco,' Be admit* the n'8])ect- 
ability of the conventionn which he abhni-s, and solicits their support. 
'lAUghtiT. when it is L-uipluyed as a weapon, is an appuil to common 
WDse. All genuine laught-er implies or invites sympathy, and refertt the 
question at if»ue in the tribunal of cuni-nt opinwu. 

Mr Raleigh's Introduction is one of the Ix-Ht things which he has 
writteiL I lio{N.' he will not hnd in thiK lui 'odious c<aii]ifuison ' with 
his larger efforts The Inlruduetiou inlfqHt-'ts us an iiilroduetion Khnuld, 
and in companiou»hip with Mr ^ijamptson's selections inut<t ivuiain, for 
some time to come, the best guide tn those who appnwich with misgiving 
tho weird creator of the philosopher!^ Suction, Quid, aDd Sipsop nod the 
fiur Miss OittipiiL 

Q. Ureoobv Smith. 



Phonrties of lite Nmo High German Lanffuagf. By Abwid JohasksoN. 
Manchester: Palmer, Howe and Ca, I90S. 8vo. x + 91 pp. 

Tile fuelingt! with which this conscientious study of modem German 

Itmnunciation is likely to be greeted by the Euglitfh reader will, I fear. 
>p »( a somewhat mixed (Uiture. owing to the peculiar eharacU-r of the 
Englirth in which it is written. 1 do not refer so much to the lack of 
those finer gnices of English style which it would be unfiiir tu expect 
from a foreigner, as to the author's habit of wining new words on the 
analogv of trtomc in his own langmige. Kngli^ih written on such lim^ ia 
only fully comprehensible to thoae who ar< familiar both with English 



346 



Reviews 



aiid the nativt- laii^^iLgt? uf tlm writer. Professur Jubanusoii writ^^s, for 
instance, 'C-ntiflonantifiiTi' (= Konannantisinua). 'Vomlism' {= Vokalis- 
muH), ' |M)sitinn nf indiftprenpe' (= Inditfeipnzlagel, ' nibbing imise,' 
iustead of 'audible friction,' apparently au imitatioo of ' Ri'ibelaut.' 
'OccUiBion/ was. if T retrember aright, used by Wilkins in thi* wven- 
tecnUl ceutur)-, but this hardly justifit-J* tht* ouiployiijent of auch a 
pedantic tonu instead of ' stoppage,' ' closure," or ' stop.' This inditlc-r- 
enoc to Eiigiittli wurd-iisnge will go tur to prevent kctiimra from using 
the buuk 'da a. clii!tt<-boi>k. a |juq}o«e to which it woul4 oLherwi«4< bare 
been wkU lulnptcd 

Ajtnrt from these defects, Pntfemor JohaimHon has [yt^rfurmed his 
task satisfactorily. Hb book may be welcomed afi a set-back to the 
tendency common at the prraent «iav to make things mom easy for the 
studeat than they have any right to be. Thia book aime neither at 
providing for students just the quantum necessary to scrape through an 
cxainination, nor at encouraging unduly those who wian to obtain a 
smattering of the subject iii iHeir iL-laure momeuts. Professor Juhann;«OD, 
in fact, politely' requests such aa arc unvrilUn^ ' to work through tb« 
liook ByBtematicalty. to leave it alone.' Phonetics is neither nium easy 
nor more difficult than other scientific studiee, but like them, it demantu 
both tiatience and systtmiatic applicarinn. 

The 8co|io of the book is prettv well indicated bv the title. It is 
evident that wt; nre not here dealing with a contriliution to general 

Shonetic theory, but with an application of such theorr to the scientific 
escription of a typical Oenunn pronuncintiou. To tne twctious wfaicfa 
deal with tlio aimlj-sis and synthesis of tSermun sounds are. however. 
proBxed two shorter and rai>n; gemsral ones: the first, introducturv and 
contuining a derinitioii uf phonetics as a science, a brit-f indication of 
tht: nllc played by the nhysiologiail, physical and pnychologtail factors 
which come into eoii^iuemtion, remark's on the relationship of letter 
and sound, and so on ; the second providing a description of the vocal 
organs and their function. The rsmainder fiills into the following main 
diWsions: CoDsonantism, Vuealism. Synthesis, and Acccntuatiou. Vctj 
welcome is the importance assigned to the last, although the technical 
use uf the word ' AccfntuatioH " ia, of coume, to be dcprucaUMi ; a little 
more than a third of the whole book is d<-voted to the phuuumena uf 
accent. To the text are added several plat(;'», giving diagrams of the 
vocal urgau and its parts, and of the articulations of various charac- 
teristic sounds. Most of the latter are from drawings by the author 
and will doubtless prove useful, although they are somewhat rough lUid 
do not compSTi; very favourably with, for example, those given by 
Bremer in his Deutsche Phntietik. 

It is noticeable that in the arrangement of the vowvU the author 
discards the vowel-triangle and adheres to the Bell-Sweet systetu. 
The a of da, Vater. whi«Nj. so far us that system is conoemcd, is the 
rtumbling-block for most Oeniiau phoneticians, he finds no difficulty in 
dcBcribing as midbock, while recognising a back vowel a degree lover 
in the first element of the diphthong au. On account of its pmctioiJ 



Reviews 



847 



convenience, it is to be hoped that other CJeniian phoneticians will yet 
find means of allocating to the n Round — whatever its exact articulation 
may be — a ponitiou in the Bell-Sweet system, ami thus remove the 
principal hindranw which has prevented it in varions qnartei's receiving 
o theoretical recugmtiou in proportion to its importance in pi-actice. 

Fur normal Gonuau the author accepts the standard of the stage, 
Qut in ctiwsical drama, but in the light »cK;ietv piece (' KoDVeraatiumi- 
stuck/ translated 'elegant drama'!). This differs from the mure arti- 
ficial Biihrmndeutscfi of the ctaasical or serious dmuiA in its clo6«r 
appmximatton to educated, collocniial North tJerman, more espwcially 
of higher eocial and official circles in Berlin. It is not aurpriaing 
therefore that Professor Johaunson recognises the \-olar r n» the normal 
pronuDciation of that oonsoDaot. In this he is undoubtedly supported 
oy the trend of development, not only in North Germany, but practically 
in all parts of the country. Whether, however, the trend of dcvelop- 
ui4.-ut will also pmve favouiuble to his a-cognition of the North German 
short vowel in words like Zug, and the liko. is quite another mnttor. 
It appears on the wJuile nion; likely that Northern spt-akei-s will have 
in tnie respect to accept Zug as normal in the not distant future. The 
j»reservntion of a short vowel is here a conservative not a progressive 
tendency, and in snch caaes it wema, generally »[]eaking, to be the 
progressive tendency which carries the day. 

In most points of theory Professor .Fohanniion has, an net forth in his 
Preface, 'chntinated all discussions about the numerous phonetical point* 
at LSHue, in order to give a more iimetical characti^r to the book, and 
not incrcaae itn volume unduly.* In a hook of thin ncojie ttuch a p]an 
pleaaee by iia muderiition. It is (juetitiouable, bowevdr, whether the 
author would not have done better to indicate at varioun points what 
quRHtiono are ntill u|M>n. In .ttich cases he follows one authority or the 
other, without generally stating which. A coQBequence of this is, that 
it would be ditHcult for one not iilrendy versed in phonetic literntiire to 
gather from the present book what are the open queatious here dealt 
with; hence, loo, many things are stated iis if thoy were definitely 
settled, about which there is still nM>m fur 'great argument.' There is 
no doubt that Professor JuhanuHon follows his authorities in auch 
matters by conviction, but it would, on the whulo, l>e fairer to the 
reader in many cases to indicate where the authorities aru not in 
agreement. 

I add a note on one or two minor matters. Page 20; Vowel* 
alliteration is no pri.X(f that Anglo-Saxon Imd the glottal catch. The 
assertion to the contrarj' assume-s that vowela cannot alliterate u)tles$ 
pronounced with tht: glottal catch. The incorrectneaa of tlus oasump- 
tion is proved by th<* fact that vowel-allitemtion is still quite common 
in English poetry. On page 24 we find the statement that English has 
no voict^leas ' prejialatal fricative.' but what about the {tftAsn ipoted 
examples hu<, hugtt, etc. i On the same page the author condemns the 
view that the Gemuin scA can have a form in which the alveohtr articu- 
UtioQ is supplemented by the fomiatiou of a palatal ' Enge,' for the 



348 



Reviews 



r«Moa llut ' the comhiaAtioo of these two positions would oe^'er wodtice 
■a rvsuU the twu batiiii-sLhaiN-il hollows i.*!uenttAl for fcA.' Bremer, 
how«t^er, upholds the artietilatitm in ([uofitian : ami, moreover, there is 
a strung ivfvmbhiace between Johannsnn's Fig. XIIl (alveolar i and i) 
and Bnn«r'K Abbiltlnng XII (in Wi» lieula<A9 Phonetik) of Zungi'n- 

r'lartt wt, ll may further be noted with refercmx- to Fig. XIII thai 
sooad hcffv eounU'rtvilwi hiis n <l.-cidedly coronal appearance — 
Mpiin ui agRMoent with Bremvr— whik on page 17 it is stauxi that i 
Md i WTtk IB eontrei^ to t, d, n, /, dot«U urticulatioiL Page ^: 
*dbaBV' M «in-Ir a ■Jin (or minirint f"'* ' il£oiinztK'7 The final z is 



ip (or mi!i{)nnt 

Ik IW vaAect^Dti>^ iiyllaule fretguentlv partiallv unvoiced, but it never 
(k» (irtis s. much Ic«b then the jn^eceiltng one. 

R A. WiLUAMS. 



__ J* JfiidM'u Otrmaa Literature, By Ottu UeLLeK. Boston: 
Qkn and Oi.. 1905. 8m x + 2»5 pp. 

(S«- vewUnii'tliehf Abwieht des Verlaesors i»t, deni amorikiinischen 
yvblikuu) lnU)rt-M»D nir die neuen Tundcuzen unserer Liberatur zu 
«r«vollv>L llicmi vrfthlt er einersoits die vivlbeeprocbenen 'Dioskuicn' 
^.. I. n PraniaH. Siidcnuann iind Hatiptniann, luidcrerseits 

^^l, ,: iir, (ieff»-'n die Auswahl laaat sich nicht viel einwenden, 

,1,, I ||iiiipt]iiinKt in di*r neiiesten Entwickehinc der deutschen 

Itn .L, ,; ^ .iw lnyriK. (i'wh sehon eine reifere Teiln&hme in dor Leaewelt 

m>r dritti' Aiifiuitii bietet nur einen ' raisonmerenden Katolog' 
unavior litTVomigiMideren Schriftstellerinnen, der in dem Namen der 
|ti«'*tiiU lliif'li ni|'f''ll. llbrigPHH we<!er (S. 25ft) Marie von Ebner noeb 
V\Mt dt'ii Vtii'ifaiigerinneu (8. 241 ) die (iraiin Kahn gerecht wiirdigt.. 
Ani'h dtt' ({IHXUM'H Tc-mk-Jiaen, die die weibliche Literatiir nnsorer Tage 
tlwlMixli. Itiiniuien in dirw^r knrzen Aiilzahlung nicht deutlich heraus. 
nt^>t|vli dtp Viiniw'lehnmkleristiken — wie dass Hermione v. IVftischen 
'iHupH'l'ltiildy nij'Blicnl ' sei <S, 2(17)— meist gelingt-n. Der fmnztisiache 
AltMtiiii'ii ' mt»r* lit lutujae haleine' ist (S. 287) falsch venttanden. 

Niill«UUidilO*i' ii<>^ '^'(^ bciden anderL-u Aut'satxe. Svh-jn in der 
llrHlllUtlfAuMling, Sndennann wird (S. 10> als Satiriker aufgffasMt; wie 
tiiMi'li'*'<t<l •t'w '■''• hnben gerade Bi-inv letzt^^n I'rodiiktionen l>e»ie8en. 
Nb'lil tt""" **" "i^'i*''' ''^'' ^^ ""^" Kanptmaiin wirklich durchniiit nls 
l.trthiir <H ISil) aiif'cnraMeii habe. Den Verfa&»er hindert eine gewisac 
I > <i<.»idiMlg vi>n di'iiLHchen ZiistiAnden nnd Stimmnngen (vgl. z. B. 
h. I \iini )dit' HV/'«fr(S. 156) oder den Colieffm Crari»pton (S. 165) 
(Ktih itiii-n dmniHiiwhon Klementeu gen-eht za beurteilen. Dagegen 
lliit..i....|iikUi- nr dit< Vemunkene Iflucke (8. 186), was ibm Ubrigena xa 
i|il, I M |lt>iiiiirkiingen llbi-r ilire Aufnubiue in Auierika Aniass 

K„|,i IvU'tiMi il'lll <'r ein ander MftI (S. 52) die Auffassungen einer 
idiHliDtiiliM'lHin UoUo dtireh ein« engliiiche und eine franzdoiHche 
Hi'ti«m«|il<'h'i*tt hdirit'ieli einandvr gegenUber. 



Reviews 



:i49 



Das Gesamturteil Uber die liWrimsche Stellung Sudemianns {S. 77, 
107 f.) iind Haiiiitmanns (S. lJ*fl. 227) pnt-s]>rirht Acm. <tius sicli iils 
cwninwNU o;>uno gx^bildct hnt. ist nber diireh ji'iie Hrw'xifiHthH Farbim;^, 
die die Satire bei dein Einen hervorhebt und die Lynk boi dem 
Anderen, \'i(!lIoicht besondtrs geeignet in Amirikn Intflrcsse rur bcide 

KlCllAKl) M. Mkykr. 



A Bistort/ of German- Literature. By W. Schkber. TmnsIateH fpora 
the Third tniTman Edition by Mrs K. C. COSVBEARE. Edited by 
F.Max MCller. ^ChimiMT Hnjirint.) 2 Vols. Oxford: Clarendon 
Proas, IB06. 8»o. 401 :imi 357 pp. 

The Qerman Clnssica from the Fourth to the Nineteen^ Ceiituri/. With 
BiogrujihiuLl X(itia-s, Tran»ihttii)ns inui Mtxieni (luriiiaii and Nobos. 
By F. Max MDller. A new K<litioii, ruvist-d, (.'niargcd, and 
adapted t<j SchcrcrB Hintorij of Gerimtn f.itemture by K. LlClITEN- 
KTKiN. 2 Vols. (Vul. II revised by F. L Armitage.) Oxford: 
Clan-ndnn I'ress, IllOti, 8vo. xvi + 7IOpp. and viii + 450 pj), 

It is a pleasing sign of whnt. we Irnst, mny Ik; regardBd a* a 
ri-yiving interest in Gi-nnan stiidii-s in England, that the Olartfndun 
Press hiw been abli\ not merely to issue a i-eprint of Mrs Conylieare's 
wcellent translation of Schnrer's Oerrnnn Literatare nt a price within 
the meiiDs of the nveragi- stndent, vis. iwn vulumes at 'As. net ttach, 
but also to publish a Hcc^nd edition of the pompuiimi volninus, Mux 
Mtl1k>r'» German CUimicn. It la to be regrett^'d, howini^r, ih.-il in only 
caic of thu fonr vnliinii'H before us, ha;* tln?it; been any editorial aupor- 
fjaion. While not in favour of the Oeminii method of keeping literaty 
fcistories ' aiif der H5)ie dur Wissunachaft * by t«cilly introdncing altera- 
tions and additional — a process whieh, for intiUiQce, has made it aesinible 
in the case <if the liist edition of KfHrn'r's Kujhteenth Ceiitniy. for those 
who value Hetinei's Judgment, ttj itfer oL-casionallv to ihe previous 
editions of that work — we think ihat a few judicioiw notes in the 
English Scherer would have been iineful to indicate to the sturlont 
where now facta have come to light and where later research haa 
altered Scllerer'si daten or rendered his conchiRionR nnteTiable. The 
German work, it must be renieinbered. la already in liv tenth edition 
(1905), juid I'urh successive edition has Wen entrusted to so competent 
nn authority m Prof. E. Schroder. 

The revision of the Gennaii C!(issic4. whieh hits proved in the ]j«st. 
both in Kngland and America, a valuable textbook for students engaged 
in following counwts of lectures on German literature, is limited to the 
second volume, the first having. 06 far a» wc see. been reprinted from 
the old plnt4:'s. This ia Honiewhut iinfortiniAte, for it was, after all, thi- 
fintt volume which stood most in n<.*d of revision. Even at first, when 
Bins MUiler n-solveii to n^ifwiie his pioneer volume of 1858 in the 
prescTit forai, his choice of editor ws* not very happy; Liehtcnstoin 
nud no cunfipicuous quaiiKcations for the task, and his successor, Joseph. 



U. L. R. 




23 



550 



Reviews 



altlioiigh ail admirable and [miruttakiiiv acholnr in a reKtricted Betd of 
Middle High (lerraao Bcholnn'tiip, waa hardly the man to whom a work 
denmiidiiig cathmlio tnstes and widp HVintmlhies with Oi>nnan litt-ratnrv 
wn» to be entirtiRted. Accoptlng the original work, however, na satis* 
factory in 188(1. rmich of it i.t out of date in 1900. Several of the Old 
and Middle High GerinaH texts stand in need of thonmgh revi«ion in 
the light of re<'ent criticism and research ; mnity of the niodcra Oi-riiiaii 
translations might bu auiKTsedL.-d hy mure uccuratti ones, and the biblio- 
grsphieal data of iwynty yoarw ago an', needless to say, of small practical 
1180 now. Under these circumstances, we think it would have beon 
better hud tbe n«w editiim bnnie a more explicit statement on the 
title-page that the work, although dated 1906, Is only what the 
Oernians call a new ' Titplansgabe ' ; it would have obviated the 
impression which the book is liable to convey, that in matters of 
Oerman scholarship, we in England are content to lag twenty years 
behind Gonnany herself. 

The revision of the second volume of the Gerwan Cla»s\cs has been 
entrusted to Mr F. L. Aniiitage, and to judge from a eomparison of tho 
two editions, he has dune his work with tact and good ihuXm. He has 
made a number of judicious omissions, and here and there introtluced 
monr fi'licitouH illu.strationK of a vmt*T's work. Occa-tionally we are 
not entirely in agrui'mtmt with his ehaiigt's. Insti^ad of the three 
items representing Heine's work in the old edition, he gives us. for 
instance, no less than sixteen. Suri-ly this is a concession, of which 
neither Schcrer nor Max Mtiller would havu approved, U> the imd- 
Victorian verdict, which still holda good in certain circles in England, 
that HeinL> is the only fjiiniian poet worth consitlering since CJia-ihe. 
We !ihuii]d have been more gmteiful to Mr Aniiilage had lie repaired 
a serious omission by insi-rting a few lyrira of* Miinke's, More mpre- 
hensibte is his omission of (»riIliiarzt.'r'H Esther fragment, which was 
both typical of the poet's work anil admirably suited for an anthology 
of this Kind ; in its place we have n scene fmm Orillparzer*!) juvenile 
traffody Die Ahnjraxi. One might as well choose passages from Die 
Ravler iw typical of Schiller's dramatic ivchievenient, or from Titta 
Amiromcus or Ricluirtf III, as sole illustration of Shakespeare's. A 
little iimiv eoro might have been devoted to the revision of the loxts. 
The plan with which the original editors set out — it was Max Miiller's 
expixisa intention in 18.58 — was evidently to reprint the specimens in 
their original form, not in modernised sixlling. But they were not 
very consistent in this matter, and the texts from t^hiller, for inHtance, 
aw more archaic than those from some of his predecessors, such aa 
Gleini. and even Lessing. Nothing has l«-en done to remedy this 
defect, and even the bibliographical notices— which might have been 
brought up to date instead of abbneviated — have been retained in an 
orthography (' Thcil." ' Bath,' ' Lecture ' and the like) which is no longer 
followed in Germany. 

These, however, are matters of very minor importance. Wc arc 
confident that the usefulness ul' Llie work will be enhanced by this new 



4 



Rei^ews 



8St 



edition, and the retltiction in size and price — from half-a-guinea to 
5s. 6rf. — will enaiiTc it a wido circulation among studonts of modern 
Oeriiian literaLutt: who aiv unwilling to ncocpt ibcir upinious at second- 
ham). I 

J. G. Robertson. 



The CasentijM and iter Storu. By Ella NorEB. Illustrated in Colour 
and Lino bv I)oba Noyus. London: J. M. Dent. 1905. Svo. 
xii+330]>p.' 

Amid the torrent of illustratod hooks on Itnty with which the 
Eng^sh Ppc-a» has bot-n fiixxltid of lutf— hoolw, it must be confessed, of 
TaryJng lilfi:uy and arlJHlic mt'rit — it is a real ploa^uiv to come across 
a volume liko thiK. Here sound and mtlid matter i» clothed in good 
litemry form, and a tastefully iirinted letter-press embellished with 
ple^ng and eucceeslul illustrations. 

Studi^ntA of Dante will welcomo the sympathetic chapter on ' Dante 
in the Valley,' but they will not stop there. They will find Dante 
everywhere : notably in ' Poppi and Campaldiiio,' and ' The Unek of .San 
Francesco." The writer brings to her tank not only a kjiowledge of the 
obvious hooks (prominent among which will alwavH bu Signor Beni's 
excellent Gutda), but a cultivated literaiy taste, a clear judgment, a 
powerful imagination, and an enthii»t:uini such aa only living contact 
can enkindle. 

Treading day after day in liante's footsteps she has watched with 
him the changing seasons and the ever-repeated dmina that is played 
between dawn and sunset, sunset and dawn : and if slie does not add 
anything really new to our data for Dante's sojoumings in the Valley 
(who could eitiject to do that?> she at any rate makes him a living 
figure in that gracious amineMe, and collects and weaves together very 
happily the pati&agea in his writings which reHect, or seem to reflect, 
the scenery of the Casentino. Whether or not she is right in identify- 
ing the ladv of the 'mnnianina canzone" with that of the 'rime 
pietroee' and with the ' |>argoletta ' of Beatrice's censure, and in nttri- 
outing those lyrics to the sojourn coincident with Henry VII. 's descent 
into Ualy, will remain an open (piestion. But there can bo no auestion 
at all as to the ability with which the authoress has haudled her 
matter. 

LoNSDAUC Raog. 



SpaniiJi InJIuence on EngliiJi Litertxlure. By Martin Hume. Loudon: 
Nash, 1905. 8%o. xviii + y22pp. 

Mr Martin Hume had a rnuguiiiceut theme, and it is a pleasure to 
be able to say that where he i« dealing with aubjoctfl with which he 
has Ions been familiar, auch na military science and history of the 
sixteenth ccnliiTy, the average student of mere literary historj' will 
have something to learn from him. The elaborate attempt to identify 

23—3 



352 



Reviews 



8hAke8pfnrc's Don AdriiitKi Artnado with Antonio P^rez, though it 
does nut- convince us, eiLi-ikeA us aa bciiie the hstppiest ft-AtiirL- uf the 
book. For iho rest, signs of hnsle «na caircK'ssncss nre eveiywhon? 
apiMLruiit: th« gX'iK'ral itmuigurtiL-nt in tiuilty ;, repetitions nbouDiJ ; the 
stylo, too, in jMiur, Nu lut'fui purpose would be served by poiitliiif; 
out thu miniemu» prror» of dctiiil that wv have Dotcd. Ihtt nuthor 
K^uiuH to ^» wnirig in LTiiirt' c!iiLptt?r8. Nothing eouM well bt- more 
cliinifiy than the two 9ection» in whinb iin attempt is made to connect 
the «'iirly Spanish chronjclp-*. and ihe S|>aniHh nnnanoes of chlvalrj' ami 
pastorals with English literature : here the iaulta of methcMJ are 90 
serious that it is almost inconcpivable how any historimi of repute, 
who should be accii^tomud tn exnmitie cause and effect, could have been 
guilty of theiu. When 80 many points are laboured, which might well 
nave been Ictt out altogi-thcr.it is straage to note veriou^ omusKiona: 
for example, theru is no mention of GrKciAn ! What xliall we say of 
the absence of ft bibliogrwphy in a wurk of thie kind * Was Mr Hmue, 
when dualing with the picaresijiie Hovel, iictinainKKl with the treatiMtt 
of De Uaan and Cha.ndler; or, t<.> take a wider field, are we to assume 
that Underbill's thanish Literature in the. EngUittd of the Tudorg vag 
known to him ! Unfortuuately he is frequenlly wanting in kjiowledg* 
of general European literature, especiiilly where the Middle Ages are 
concerned; various ffenres aro d(wt with as being pt^culiiu- to Spain, 
which wt're couinton to. and apjitrarfd earlier in, other countries^ All 
that c-an honestly be said of the volume is that it contains a certain 
amount of material uncritically put together: it remains for some 
sch(>lar to digest a portion of this material, let much of it go by the 
board and add to it from fresh sources. 

H. Oelsner. 



The Life of Oerwtrtitt. By Aijiert F. Calvert. Loudon : John Lane. 
1$0S. Svu. X 4 130 pp. 

The body of this Wik in no way advances* our knowledge of Cervantes 
and his works : it is not diHtingiimhed by accunicy of detail, and from 
the standpoint of litemrj- criticism its value is nil. Thei*e is much 
display ot learning in the bibliographicnl section, and much lack of 
kiiowk-dgc- and jiiclpjieut. Thus the list of English versions conCaina 
no mention of the three modem editions of Shelton's translation. What 
puqtuwf cfin be sctvmI by a ' list of bibliogmphies of Cervantes ' in an 
eleniei:itHr>' book of thitj kind ^ Then, again, there is n * chroDologicnl 
repertoire of doruments relating U) the life of OervnntOfi,' which ia 
compile<l in the most arUitrarj- way. One column is devoted in each 
case to the 'first publisher.' Ferei: Faator occurs twentv-one timea; 
but quite apart from the Gict that the very ' general ' reader for whom 
the book is obviously intended, is not told in this (or any other) case 
where the 'first publisher' printed the docmnents in cjuestion, there is 
nothing to show oti what principle thesv 21 have been selected from the 
111 more or le^ vuluabk' ones unearthed by this diligent scholar. In 



Reviews 

apite of these mi(i matiy othtr fiiults. Corvantists may like to have the 
book ou aecuunt of th« [loriniits, illuHtmtioii» and facsimiles of early 
titlc-pagG8 it contains: some of these are full of ioteivst; but even 
here too irmc-h reliance iinmt not be jilaced uii the ttuthnr's deKeriplions, 
which are raofttly inadequate and amateuriBh, nnd flometini^ wrong. 
The whole in ns ttagrant Hit example of biHik-niaking as it has bi-L-n our 
lot to come across. 

U. OEI.SXER. 



\ 



An oiitiine of the Phonoiofftf and Mcrpliologtf of Old Proven^il. By 

C. H. Oranijgext. (Huuth'.s Modfni Longmi^- Series.) Bi>ston : 

D. C. Heath, 1905. 8v«. si + 15!) pp. 

This vuliinie is stated by the author trj be 'the result of desultory 
laboui's exteudinji through a period of twenty yean),' and is based upon 
the RiQBt reliable aiithoritiea. It giveH cvi<lence nlsoof wiiIr and rareful 
study of texts, and «hould Ims found highly valimble by all who art' 
interested in the study of Old Proven^!. Not only is it raimble of 
bwxiiming a usefiil guide to the hoginner, but it also may prove w-rvine- 
able upon occasion to the advanced student, if only for the references 
given to the literature of the subject which is waittered in large part 
through various puriodicojs not readily acwasjbkr ut t-veryone. It is to 
be wished, upon thin ueeount, that the author could have seen his way 
to extenrl th« nundmr of tluwt' ndfrences: hi>wever, the lKN>k gives a 
gruat deal of accurate information in a «oni pirn lively nuiuII eiwiee. 

Id the Phonological section, the method followed is naturally that 
of takuig the Vulgar Tvitin .•wtmdN as a .'turtitig'point and exaniinirij^ 
their dt^vvlopment in Prown^t. In § 1 1 the author might either have 
stated Suchier's low or have given his reasons for jKu^ing it over. 
With ^2** f^ud 92 he will no doubt be iatereateii to couimiv the article 
by A. Thoniam in the Januan.- uiniiber of lioummiK In § 100 co}s and 
cor an; not always »o clearly ditien-iitiatod iia the author states. On 
the fonnatiuu of the future and conditional a rwfereuce might have been 
given to a paper by Karl Foth in liomain«c!'« Studim, vol. l. These 
triHeit in no way detnict from the value of the book, which is well 
arranged and well printed : there is a commendable absence of mifi- 
prints. 

H. J. Ch&itor. 

Hiatoire poitiqtie de Charleiiuigtft. Par Gastos Paris. Runioduction 
de r<klition de lS(i5 nugruont^e do notes nouvcUc* par I'auteur et 
jKir M. P. Mevkr. Pans: H. Champion. 1903. 8vo. 507 pp. 

The original edition of the HiMmre fo^tiqw de Cfturt^maffne was 
prepared OH a doctor's thesis liir the (Jnivcniity of Paris in IB(i5. Thi* 
work was tinmediatelv acclaimed as of unique value, both as an object 
Itxwon in method nml an a contributiim to sprcilic knowltMlgu; it took 
rank as a elaanic, and scholai-s are not wanting who believe tliat it io its 



9H 



Raritua 



ttiithor'a tuMtrrpim*. Thr oriipiial Ltlition was soon exhausted, and for 
tMwrU' thirty y«<Hrs thi.- houk tiiui appeanxl Ittit mrely in oecnnil-hand 
iNklAlttyiitw,. aimI hM^ hnniKht a high price. On^ton Paris int^tidt-d U> 
iwtu> A m<vMtMl r<liii(Vi, and madf fmin tiniK t<i time not^w towfinhi that 
rmi. MtH iHirpt««> ^led of fiiltilment Wcaufie of the manifold interests 
wkti^h imw Hm) !iB>»>' nbsoriMMl the leisiin^ of his last years. His life- 
iiit Ainl iMMiciat*^-. M. P. Mfyer, hits g(.-DL-n>usly laid aside for a 
^ »>»o HunuTuiiN phili>)ogi«iI t-nterpris^w. and has given us thf 
uttM'ti »iB^^lt>i iwoxid I'dilioii, M. Mover lias addu) to th« iiottnt of PariB 

Nv ofaux'fully chosen notes of his own, and has had prvparwi a 

'Ic indt-x. tho lack of which was ont^ of the eravu di-ft:ct»i of the 
hilt viliiuiu. It naa inaiiifL'stly inipossiUe to give all the biljlingraphy 
v^-AKAniiitx th»* niftiiy ihcorioB, literary monument*i and poetic perBOoa^-a 
(MvuUvlHM in the five hundred and s«^vpn pjigps of the work. M. Mover 
«wi iKu* t'iMVfd to make a selection in hi» bibliographical Qot«s. He 
kt(M ikuH< ihix with niich Mire judgment and ripe scholarship that none 
itui « Mu-ping critic could find &ult with him. In view of the «.'«tal>- 
lt«l\nl r«ipnt«lion of the Histoire Po^tique d« G/iarUmafftie, it is hardly 
M V to do more here than dmw tbe attention of scholara to this 

Iiiiun. 

Eavmokd Weeks. 



MINOR NOTICES. 



Al Lfffjend of Fair H^tn as told by Hjm*r, Qoethe and Others. By 
EliuENE Oswald, Londim: Murray, 1905. 8va xii+211 ])ii. 

The author of this volume appears to have be«D induced by the 
(rtilily of the second part of Goethe's Faatt to bring Ujgether the moflt 
nutnole ini^tauces of the artistic treatment ' of iho Htldu lugi^nd in 
diffen-nt ajres and cuuntric». The net is cast very wide, a* we hear 
not unly of tliosL' who have dealt with the subject, but alfto of those 
who might hare done so (p. 192 f). The book falls into three parts: 
the Brst traeeH progresKively the iTmoiw stAgeji in th« life of Hefen, as 
iHirtrayed by dilferent p«)et» and artiste, the meuliiig of Helen and PoriB 
iH'ing, for instance, illustrated from Ovid, Thnnias Hevwo<id, Lecoute de 
Liiile imd Lojwlor; the second follows the hiKtorj* of iJio Icgi-nd chrono- 
lojpcally. Either of these schemes, if adhered lo systenialiadlv, might 
have furnished an admirable framework for the mass of bibUogrspby 
and iltiiHtration which the author luui collected, but between the two 
we gi't a great deal of repetition. The third part, the ' Epilogue.' 
oontnins what the author calls a 'little aftermath.' in which a number 
of mim't-Ilnneuu^ refci*nces lo Helen are gathered together. The book 
mntniiis much thai is interesting, but sufiers from the lack of methodical 
nrmnfrcmcnt. 

H. O. A. 



Minor Xofices 



355 



■ dfr dttut«chen Literaiur. Von Max Koch. flte. neu durch- 
KWehene AiiHage. (Sammbtnff Gimhen, xrixi.) Leipzig : (Jiiechen, 
1906. 8va 294 pp. 
ProfiMKor Koeli'ti History tjf Gunnan Litummre in the well-lcnown 
i:?aiittiiltin(/ (ri/Hcheu is ii survey ol" a verj' wide ficl(J in a cmupiinitFivfly 
Muall «[)acf. Ill cotiBtHiiU'tici' of the large niinibt'r «>f names iiifliidi-u. 
the tivatment of even miprirUnt works ib. of neceaaity. very brief; but 
the author takeR up a rtiRpmiKirtinnat^* amount of the available B])ac« in 
emphosieing his pert4on»] v'il'vh* ua to tiiv rt.-lntive irnportancu of certaio 
HiilJmni. Thns hi* occupies two i>f liii« 2&4 pages in Hpnying t<t 
Hmiptiiiftun aU true poetic mid dniiuatic talent, onn- onf to protfe that 
Siideniiaiiii iioBgL'sses both in a high degree, and mihtfr leij* to maintain 
thftt Schnitzlur is a groat-cr draJlUltl^t than eithor. For Kretac-r he claims 
ft pliice in the front rank of modem noveliKtit. The intrusion of such 
views, however interesting they may be as an expression of subjc-ctivc 
opinion, Heenm to uh to place at a gravf dinad vantage a book which 
is obxiouely designed for the use of learners. B. G. A. 

// Purgatorio * tl tuo prdudio. D« F. P'Oviino. Milan; Hoepli, 
1906. 8va xvi-fC34pp. 
Professor D'Ovidio's name is too well-known t« need introduction; 
and thooe who take up thiR new volume, and etwav to mount the hill of 
Purgatory under his guidance will not bte disappointed. They will find 
the accustoraed bwiuty and clearness of style, the wide erudition and 
the devotion, iit once sane mul rnthusiaiitic. to Diiiiie and his {>oein, 
which are associated with the writer'e name. The first 147 pages are 
on elaborate ex}K)Hition of the fir»t canto, a running cnnmienturv more 
or lesH of the nature of a ' talk,' like Vernon's Readingn, in whicli the 
commentator has sacrificed willing- all literary effect to the supreme 
aim of every true cnnimentntnr. Trie wjwmd part (pp. 161 — B07> deals 
with various iwpect* of the Pargdlorif — ita ' iiiomi geography.' iUs rela- 
tion to the Inj'«rju>. iiiid. in fiict, with alinostt every <|Uestion that arises 
as one readts and studies the ' itecoudu enntica. Manfrtnli. Sordello. 
Beliaoqun, Stazio and Matelda are fully treated iu tbitt second part, as 
iM Cotone — the Cato of history ond of Liican and the Cato of Dante — 
in the ftnii. The short pref»ee contains a graceful little poraoDal 
anecrtnte aii charming a» anything in the book itnelf. 

L, R. 

The Library of Harvanl TTnivernity has jiwt issued a 'Catalogue of 
the MoHere Collection in Harvanl Oillege Libiniy, acquired chiefly from 
the Library of the lad' Ferdinand Wa^vt' \HihUogr>i}Jileal Cimtriiit- 
tiom, edited bv' W. C. L«ne, No. 57). The Oatalogxie, which has been 
compiled by T. F, Currier and E. L. Gav. in a model of what such 
ppecial cutulogucs ought to be. and a 'oibliographiual contribution' 
whieh no MoUi'fL' scliolar can afluitl to overlook. It contains appendices 
on the Portmit* "if Molierc-. Knglit*h Imiwtions and Tran.4at.ionB of 
Moli^re's Plays and Tables showing the Contents of the Etlitions and 
Translations of the Collected Works. 



356 



Minor Notices 



Profcesor W, H. WiLUAMs writes to lis with reference to the review 
of Ilin ^pecinums vf the FAisiiftrthnn Drama on p, 137 t. of the [Hx-spnt 
voluiuo of the Mudtrn Lungttage Review: 'ilr Greg contrasts my 
Spec\me}\s of Uie Elitabethan Drttwa with Mr PoIIjvitI's EnfjlUh Mirtme 
Plays, fnini which it <iifl"fi-a vutiix'ly in im:thnd.!*«>]K- »nrl iutcntiou. He 
funri4.T c.-uuijikiiis tha.1 then* its "n M^riutis j^ivp** U-twui-n tlio two works, 
assuming r.hAt ihc otit was inloDdi-d to lio a mHitn-l to the othi'sr. A* a 
nuitter of Jiift. ihert- is iio vt-ry " sMrioiis jjap " lH'twi<eii the year 13S0. 
with which my bwk begins, and I57t*, with which L>r Skeatn Hpfcxintna 
of English iMerature ends, I modelled my Specimeojt clcisely on 
hv Skeftt's in tn<^thod and arrangement. f«elin^ it to be a grvat honour 
to be permitted to continue, however iinworlhily. the line:* he had »«> 
ably laid dm,%-n, Th«''Ti Mr Ort^g t«imewhat invidiously remarks that 
"fi-uin Mr Pollaiti's voluine ihe sliidiiit «in obtaiit n verj^ tiur knowledge 
of the ri,'Iigious and didactic dmuui of Enclaud." but that " no such 
knowktii^.- of the later ih-utna can bt guiiKfl" from my Upeciiimna. lu 
answer, I can only rt'fei' Mr *JKg to mj' I'refiice, in which 1 sUtX'O my 
aim to Ik' "to convt-y to the rwnder who. for one reason or another, is 
unabh' to ntiuly the collected works of the RliKabethan dramatiBta, a 
fair general impre^ion of their livemge style and spirit." ' 

[I am sorry if I hav*- unwittingly doue Pn>fess")r Williams an 
injustice, tut I cannot regard my reniaiks on his Spevimenti as m any 
way tmfiiir. Whether ho or the Clarc-ndon Press was ivsponsibto I do 
not pretend t«i »ay. I had rcaaoii to know that the PnwB had at one 
time cont4.>mplat4>(l dealing with the later flninia nn the name lines aa 
the eJtrlier. and when thei-e ii])p>arF-d a volume nf selections imm ihafc 
hiter drama to idl appearani'i'^ mtenilt'd an a coinjuinion to Mr Pollaril'R 
work, the connection seemed obvious, Tlie coin{»uisou with Pn>f(_teor 
Skent's .S'p(*ctwi*?w, on the other hand, a collection which includes prose, 
verse and drama from 1304 to 1579. and of which the prime intention 
is survly linguistic, hardly suggests it»oIf. I mnv have been hasty in 
arMuming that a volume of 'SiH-cimenn of the i-^iutbethim Drama' wan 
intended to illustmty tlie devL*lopment of the kind, but if it was not, I 
can only regarti it a.-* the more iin»ntisfiict<try, aa t^-nding to a ilicentrau; 
attention upon the peculiiiritieK of writi>rs an individimt phenomena 
rather than upon the connected hi»tory of the drama as a literary 
growth. 

W. W, Greo.J 



Note Recti FICATlVE.^J'ai ecrit dnns K* numi^ro iii de In Modern 
Language Rem'etv. p. 254. que M. Thomas avait renone^ k I'etvmologie 
donnte par lui en 18(JH dans les Mem. Sac. Anti*/. rf< I'Ouest. tin r^lifcfi 
c'est en 1902, dans «l'8 M^luni/en iV Elymologie Fran^ue qu'il I'nvait 
propoK^e (voir nivarm, p. ^8). Pour ce ]a|waii, qui hii attribuait on 
excedeut d'anu^s cou.«tid4rab]e, je prie t'emiuent philologiie d'agrArr 
mes plus vivca excuse:). 

L, Bran DIM. 




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the contributiuna which have been pntmised, the following 
: tppear in uarly numbers of the Jieview: — 

W. 13as*q, Studicri znr engliachen Umgangssprache zur Zcit 
Hoinrichs Mil. 

H. C. Bbechiso. The Gardner's Paaaetaunce. 

F. }j. Boas, Love's Hospitrd hy George Wilde, an uopubUshed 
Sevtiitwnth Centory Comedy. 

O. 0. COULTON, in Defence of Pearl, 

H. Ci. FiEBLEB, The Dute ond Occasion of Shafeespeare's Tempest. 

H. Ol U-OT, Le« J ugeraents do k France olaBsiqiie siir rAlletuagne. 

W. W. Obeo, The ' Plot ' of Peelea Battle of A Icaxar. 

K. F. JoPRDAlK, Holyday's Survey of the World and the DitUimondo. 

L. E. K.WTNEK, Some Old French Poems on the Antichrirt, U. 

W. P. Keh. Dante and the Art of Poetry. 

J, Lees. Heine and Eichendorff. 

H. Oklsnkr, CaldtTiia's La cisma de Inglaterra. 

R. pRnuiRCK, Neiie Frogmeute aus detn Peter von Staufenberg und 
dem Jituant 

L. Rago, Humour and Playfulness in Dante. 

J. G. Robertson, luvlian Origins of German Eighteenth Century 
Criticiwu. 

A. Salmon. Etudes our la prunonuation de I'anden fran^aiB et sea 
modiAcations en Angleterre. 

A, A. TlLLEV, The Aulhorsliip of the /«& Sonnattte. 

„ Rabelais and Geographical Dtscovei^-. 

PaqeT Toyxbee, Itoceaccio's Comstietitary on the Divine Content/. 

„ ThoDias Roscoe and the Memoin of Benvenuto CelUm. 

Batmond Weeks, The Covenant Fiom in the Ha. of Boulogne. 
L. WiENEH. Anglo- Russica. 



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CAMOWtXJfi UNIVHRSITY VKSS& WARRHOUSE, C r Clat. Mahaoi 

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