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Rodolph Gualter-"Annoy" used as a Noun - Culprit, Origin of the Word-Passage in Bishop Butler Wat the Hare The Letter g - Did Elizabeth visit Bacon in Twickenham Park Mock-Beggar Cardinal Chalmers - Binsey, God help me! - Midwives Licensed - Dr. Timothy Thristcross - History of the Bohemian Persecution" Earth has no Rage -Couplet in De Foe - Private Memoirs of Queen Elizabeth-Abbot's House at Bucks len- Bab in the Bowster Sir Cloudesley Shovel- Noli me tangere -Cad MISCELLANEOUS : Notes on Books, Sales, Catalogues, &c. Notices to Correspondents Advertisements Notes. AUTHORSHIP OF HENRY VIII. - 34 Price, with Index to Vol. II., 9d. Stamped Edition, 16 d. Fletcher's but would furnish some evidence to a Page diligent student of this writer's style: and that, 33 although I think each separate instance as strongly characteristic of Fletcher as it is unlike Shakspeare, it is only in their aggregate number that I insist upon their importance. 35 366 335 37 37 The first instance to which I call attention is the use of the substantive "one" in a manner which, though not very uncommon, is used by no writer so frequently as Fletcher. Take the following: — "So great ones." Woman's Prize, II. 2. Two Noble Kinsmen, II. 4; In my last communication on the subject of Henry VIII., I referred to certain characteristic tricks of Fletcher's style of frequent occurrence in that play, and I now beg leave to furnish you with a few instances. I wish it, however, to be understood, that I advance these merely as illustrative specimens selected at random; as there is scarcely a line of the portions of the play I assume to be VOL. III.-No. 64. "I had my trial, And must needs say a noble one.” Act II. 1. "A wife a true one." Act III. 1. "They are a sweet society of fair ones,' Act I. 4. Fletcher habitually uses "thousand" without the indefinite article, as in the following instances: "Carried before 'em thousand desolations." False One, II, 3. "Offers herself in thousand safeties to you." Rollo, II. 1. "This sword shall cut thee into thousand pieces." Knight of Malta, IV. 2. In Henry VIII. we have in the prologue: "Of thousand friends." "Cast thousand beams upon me."-Act IV. 2. The use of the word "else" is peculiar in its position in Fletcher : ""Twere fit I were hang'd else."-Rule a Wife, II. I were to blame else."— Ibid. The peculiarly idiomatic expression "I take it" is of frequent occurrence in Fletcher, as witness the following: "This is no lining for a trench, I take it.” Of a peculiar manner of introducing a negative "All noble battles, Maintain'd in thirst of honour, not of blood." "My innocent life (I dare maintain it, Sir)." Henry VIII.: "The dews of heaven fall thick in blessings on her!" Act IV. 2. Fletcher: "The dew of sleep fall gently on you, sweet one!" Elder Brother, IV. S. Blessings from heaven in thousand showers fall on ye!"-Rollo, II. 3. "And all the plagues they can inflict, I wish it, "To-day he puts forth My long-since-blasted hopes shoot out in blossoms." These instances, of course, prove nothing; yet they are worth the noting. If, however, I were called upon to produce two passages from the whole of Fletcher's writings most strikingly characteristic of his style, and not more in expression than in thought, I should fix upon the third scene of the first act of Henry VIII, and the soliloquy of Wolsey, beginning – "Farewell, a long farewell to all my greatness!" In conclusion, allow me to remark, that I am Wife for a Month, IV. 1. quite content to have been anticipated by MR. "A woman (I dare say, without vain glory) SPEDDING in this discovery (if discovery you and Never yet branded with suspicion." your readers will allow it to be), for the satisfacHenry VIII., III. 1. tion I am thereby assured of in the concurrence "A great patience," in Henry VIII., may be of so acute a critic as himself, and of a poet so SAMUEL HICKSON. paralleled by a brave patience," in The Two true as the poet-laureate. Noble Kinsmen: and the expression "aim at," occurring at the close of the verse (as, by the bye, almost all Fletcher's peculiarities do) as seen in Act III. 1., 66 Madam, you wander from the good we aim at," Now, Sir, on reading Henry VIII., and meeting WSPA alone, My original intention in the present paper was merely to call attention to a few such expressions as the foregoing; but I cannot resist the impulse to quote one or two parallels of a different character: Dec. 10. 1850. THE CAVALIER'S FAREWELL. The following song is extracted from the MS. Diary of the Rev. John Adamson (afterwards Rector of Burton Coggles, Lincolnshire) commencing in 1658. Can any of your readers point out who was the author? J. F. M. (Vol. i., p. 101.) remarks, "I would venture to throw out a hint, that an edition of this Elegy, exhibiting all the known translations, arranged in double columns, might be made a noble monument to the memory of Gray." It has been asserted that there is scarcely a thought in this Elegy that Gray has not borrowed from some writer, ancient or modern; and if this be true, I would take the liberty of adding a hint to that of J. F. M., namely, that the proposed edition should contain a third column, exhibiting all the known plagiarisms in this famous Elegy. To begin with the first line "The curfew tolls the knell of parting day." Lord Byron, in his notes to the third canto of Don Juan, says that this was adopted from the following passage in Dante's Purgatory, canto viii. : "si ode squilla di lontano Che paja 'l giorno pianger che si muore." And it is worthy of notice that this passage cor responds with the first line of Giannini's translation of the Elegy, as quoted by J. F. M.: · "Piange la squilla 'l giorno, che si muore.” I must add, however, that long before Lord Byron thought of writing Don Juan, Mr. Cary, in his excellent translation of the Italian poet, had noticed this plagiarism in Gray; and what is more, had shown that the principal thought, the "giorno che si muore," was borrowed by Dante from Statius's "Jam moriente die." HENRY H. BREEN. St. Lucia, West Indies, Nov. 1850. [The preceding communication was accompanied by several others, and by the following gratifying letter, which we print as a fresh proof that our paper is fulfilling the object for which it was instituted, namely, that of promoting literary intercourse between men of letters throughout the world; and that it is as favourably received by our fellow countrymen abroad, as it has been by those who are enabled to receive it wet from the press:—— "Owing to the difficulty of procuring the early numbers of NOTES AND QUERIES,' especially at this distance from Britain, I have been compelled to wait for its publication in a collected form. I am now in possession of the first volume, and beg leave to offer you a few Notes which have occurred to me on perusing its contents. I am fully sensible of the disadvantage of corresponding with you from so remote a corner of the globe, and am prepared to find some of my remarks anticipated by other correspondents nearer home; but having deeply suffered from the literary isolation consequent upon a residence of twenty-one years in this country, I shall gladly submit to any disadvantage which shall not involve a total exclusion from the means of inter-communication so opportunely afforded by your excellent periodical. "HENRY H. BREEN."] THE NINEVEH MONUMENTS AND MILTON'S NATIVITY ODE ILLUSTRATED FROM LUCIAN. Layard in his Nineveh, vol. ii., p.471., in his description of "the sacred emblems carried by the priests," says, they are principally the fruit or cone of the pine. ".... and the square utensil which, as I have already remarked, appears to have been of embossed or engraved metal, or of metal carved to represent wicker work, or sometimes actually of wicker work.” He adds, that M. Lajard "has shown the connection between the cone of the cypress and the worship of Venus in the religious systems of the East" that it has been suggested that "the square vessel held the holy water," that, "however this may be, it is evident from their constant occurrence on Assyrian monuments, that they were very important objects in religious ceremonies, Any attempt to explain their use and their typical meaning, can at present be little better than an ingenious speculation." There is a passage in Lucian De Dea Syria, §. 13., which may serve to elucidate this feature in the Nineveh marbles. He is referring to the temple of Hierapolis and a ceremony which Deucalion was said to have introduced, as a memorial of the great flood and the escaping of the waters: “ Δις εκαστου ετέος εκ θαλασσης υδωρ ες τον νηον απικνέεται· φέρουσι δε ουκ ιρεες μουνον αλλα πασα Συρίη και Αραβίη, και περηθεν του Ευφρητέω, πολλοι ανθρωποι ες θαλασσαν ερχονται, και παντες υδωρ φερουσαι, τα, πρώτα μεν εν τῳ νηῳ εκχρουσι,” &c. "Twice every year water is brought from the sea to the temple. Not only the priests, but" all Syria and Arabia, "and many from the country beyond the Euphrates come to the sea, and all bring away water, which they first pour out in the temple," and then into a chasm which Lucian had previously explained had suddenly opened and swallowed up the flood of waters which had threatened to destroy the world. Tyndale, in his recent book on Sardinia, refers to this passage in support of a similar utensil appearing in the Sarde paganism. It may be interesting to refer to another passage in the Dea Syria, in which Lucian is describing the splendour of the temple of Hierapolis; he says that the deities themselves are really present: “ Και Θεοι δε καρτα αυτοισι εμφανεες ιδρωει γαρ δη ων παρα σφισι τα ξόανα, When the very images sweat, and he adds, are moved and utter oracles. It is probable Milton had this in recollection when, in his noble Nativity Ode, he sings of the approach of the true Deity, at whose coming ". . . . the chill marble seems to sweat, While each peculiar power foregoes his wonted seat.', I. I. M. Minor Notes. Gaudentio di Lucca.-Sir James Mackintosh, in his Dissertation on the Progress of Ethical Philosophy, adverts to the belief that Bishop Berkeley was the author of Gaudentio di Lucca, but without adopting it. "A romance," he says, "of which a journey to an Utopia, in the centre of Africa, forms the chief part, called The Adventures of Signor Gaudentio di Lucca, has been commonly ascribed to him; probably on no other ground than its union of pleasing invention with benevolence and elegance."— Works, vol. i. p. 132. ed. 1846. Sir J. Mackintosh, like most other modern writers who mention the book, seems not to have been aware of the decisive denial of this report, by Bishop Berkeley's son, inserted in the third volume of Kippis's Biographia Britannica. L. George Wither, the Poet, a Printer (Vol. ii, p. 390.). In addition to DR. RIMBAULT's extract from Wither's. Britain's Remembrancer, showing that he printed (or rather composed) every sheet thereof with his own hand, I find, in a note to Mr. R. A. Willmott's volume of the Lives of the English Sacred Poets, in that interesting one of George Wither, the following corroboration of this singular labour of his: the poem, independent of the address to the King and the præmonition, consisting of between nine and ten thousand lines, many of which, I doubt not, were the production of his brain while he stood at the printing-case. A MS. note of Mr. Park's, in one of the many volumes of Wither which I possess, confirms me in this opinion. "Ben Jonson, in Time Vindicated, has satirized the custom, then very prevalent among the pamphleteers of the day, of providing themselves with a portable press, which they moved from one hiding-place to another with great facility. He insinuates that Chronomastix, under whom he intended to represent Wither, employed one of these presses. Thus, upon the entrance of the Mutes, — "Preached as a dying Man to dying Men" (Vol. i., p. 415.; Vol. ii., p. 28.).—Some time ago there appeared in this series (Vol. i., p. 415.) a question respecting a pulpit-phrase which has occasionally been used by preachers, delivering their messages dying men to dying men." This was rightly traced (Vol. ii., p. 28.) to a couplet of the celeworks, speaking of his ministerial exercises, says,— brated Richard Baxter, who, in one of his latest as I preach'd as never sure to preach again, And as a dying man to dying men.' The passage occurs in one of his "Poetical Fragments," entitled " Love breathing Thanks and Praise." This small volume of devotional verse is further entitled, Heart Imployment with GOD and Itself; the concordant Discord of a Broken-healed Heart; Sorrowing, Rejoicing, Fearing, Hoping, Dying, Living: published for the Use of the Afflicted. The Introduction is dated "London: at the Door of Eternity, Aug. 7. 1681.” He yet survived ten years, in the course of which he was twice imprisoned and fined under |