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LITERARY CRITICISM and BIOGRAPHY. By John Dennis. HOW I INTRODUCED the TELEPHONE into EGYPT. Edwin de Leon. London: LONGMANS & CO. By THOUGHTS SUGGESTED by MR. MOZLEY'S OXFORD RE- GRESHAM LIFE ASSURANCE SOCIETY, PATRIOTIC POETRY. By A. W. Ward. HOUSE, POULTRY, LONDON, E.C. Taking gas at 38. per 1,000 cubic feet, the equivalent quantity of light obtained from YOUNG'S PARAFFIN OIL, at its present retail price, costs only 18. 5d. It produces much less Heat and Sulphurous and Carbonic Acids, whereby the air is kept healthful and pure, and there is no injury to books, paintings, or art decorations. It has been extensively used in all climates for thirty years without a single accident. YOUNG'S OILS and LAMPS may be obtained from the principal Ironmongers and Grocers. YOUNG'S PARAFFIN LIGHT and MINERAL OIL CO. (Limited), 7, West George Street, Glasgow. 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By the Editor. BRIBERY CLUBS in the LAST CENTURY. By W. G. Stone. COLLECTANEA-REVIEWS-OBITUARY MEMOIR-MEETINGS of LEARNED SOCIETIES - ANTIQUARIAN NEWS and NOTES-CORRESPONDENCE-BOOKS RECEIVED, WANTED, &c. WILLIAM REEVES, 185, Fleet Street, London. Division of Profits.-The next Division of Profits will take place in May, 1883. All Bonus Policies issued in 1882 will participate. Half-Credit System, applicable only to With-Bonus Policies for the whole Term of Life (Table A. in Prospectus), and to Lives not exceeting 60 years of age. Under this system one-half the premium only is payable during the first 5, 7, or 10 years, in the option of the Assure 1: the other half premium remains a charge against the policy, bearing 5 per cent. interest payable in advance. An explanatory leaflet ou application. CHARLES STEVENS, Scoretary. LONDON, SATURDAY, SEPTEMBER 30, 1882. CONTENTS.-N° 144. NOTES:-Shakspeariana, 261-Unaccented Words in Modern Greek and other Languages, 262-The "Hours" of Raphael A Note on Fitz-Stephen, 264-William the Silent and Mr. Motley, 265-The Spenser Society's "John Taylor, the Water-Poet"-Bp. Wilson of Limerick-Andrew AllamAmerican Folk-lore-A Law of Virginia, 1662—A Maxim of Bacon, 266. QUERIES:-First Idea of a Union between England, Scot land, and Ireland, 266-The Warton Monument at Beverley -A Query as to Names-Sir E. Plowden, 267-"To wish ". "Nu elck," &c.—A Latin Title-Ziraleet-The "Digest," Book iv.-Jane Martin-Juliana Coningsby-The Registers of Gray's Inn-"Paltock's Inn," 268-White Pigeon Superstition-A Lancashire Ballad-Ancient Egyptian BurialsSocial Life in Bohemia-Engravings by Le Bas-W. Whittingham Warren Hastings -St. Weonards - Authors Wanted, 269. REPLIES:-The Buckenhams of Norfolk and Suffolk, 270 Papal Heraldry-"A Liturgy," &c., of 1776, 271-A MS. Calendar, 1463-Adisham-How History is Written-The Steamer Chub, 1811, 272-Loves and Louvres-Old Yorkshire Customs-"Domum mansit," &c.-Lytton-Conny Encampment of English Forces, 1545, 273-Shihallion-Ivo Tallbois-Bewray and Beray, 274-A Badger's Skin-Priory of Nostel-The Poet Gray-"Hear the Church"-The Quakers, 275-Game of Comet-Butler's "Hudibras "Toadstool "Divine Breathings" Conversion, &c., of Family Names-Wo!-Pelham of Crowhurst-A Holiday Song. 276-Afternoon Tea-The Nettle-Creeper-Shakspeare and Bacon-Vignette Cards-A Distaff-Pronunciation of Tea-Execution for High Treason-Funeral Armour in Churches, 277-"The Book of Accounts, &c., Basingstoke " -A Yard of Beer-Alkermes-W. Selwood-Folk-lore of Eggs-Authors Wanted, 278. NOTES ON BOOKS:-Procter's and Wordsworth's "Sarum Breviary"-Smith's and Slater's" Architecture, Classic and Christian". Thackeray's "Guide to the Collection of Roman Coins at Eton College "-"The History and Antiquities of Colchester Castle"-Clifford-Smith's "Manual for the Congress of the National Association," &c. Notes. SHAKSPEARIANA. "TEMPEST," III. i. 13 (6th S. vi. 24, 65).– "Most busie lest, when I doe it." I do not think that it matters to the sense whether we discard or retain it. In the looser grammar of that day this pronoun may refer to "labours," or, as is more likely, to "the business" implied in the adjective busie. Take lest-least (a not uncommon spelling), and place its comma before it, that is after busie, and we obtain an excellent and most congruous sense. The credit of these changes-dismissing some minor and unnecessary ones-is fairly due to a writer in the Athenæum,-I forget his name and the date, but the latter is within these four years. I may, however, state that about a year or more previously, within three days or so of a sudden restoration to health and consciousness after a two months' attack of paralysis, semi-consciousness, and more than semi-imbecility of mind, I, by way of testing my returned reasoning powers, took up this question as I lay in bed, and-bating what I have called the minor and unnecessary alterations that the gentleman had set forth-arrived at the reading and interpretation which he afterwards published. On reading his letter I wrote to the But these sweet thoughts do even refresh my labours The quoted text in the last line shows Theobald's amendment of the two folio readings "busy lest " and "busy least." And after Theobald, as well as before him, Pope, Holt White, Staunton, Bullock, Collier, Spedding, Brae, Clark, and Glover have each of them proposed some change of the same verse. Whatever may be the merits of these respectively, all are made under a misconstruction of the passage in its first lines, into which the traditional punctuation has helped to mislead every critic and editor. The passage should be punctuated and interpreted thus: "My sweet mistress Weeps when she sees my work; and says such baseness Had never like executor: I forget But these sweet thoughts, do even refresh my labours Most busiliest, when I do it." With this meaning: "My sweet mistress weeps, when she sees me at work, and says that such a base occupation never before had such a person employed in it: I, on the other hand, forget everything but those sweet thoughts, which in fact then most actively give refreshment to my labours, when I am actually doing the base busi ness. I learn from the Cambridge edition that Mr. Bullock suggested "busiliest," and I prefer this to a very similar amendment which I had made independently of Holt White, i.e., "busiest "; because in Cymbeline we have the word "easiliest," which is in precise analogy to "busiliest." "I forget" by itself, is elliptical and ambiguous, and, in fact, quite wrong. "Forget" has for its object "these sweet thoughts." With this change, and "busiliest" or "busiest" substituted for "busy lest" or "busy least," all is as clear as it is consecutive, natural, and, I may add, beautiful, the ellipse of the relative "which" being one of constant occurrence in Shakespeare. I think it most likely that Shakespeare wrote see me work" and "those sweet thoughts," which by a very natural error became " see my work and "these sweet thoughts"; but these are matters comparatively unimportant. The last word it, then, with the passage so understood, as I thus suggest, however unnecessary under any other interpretation, is right; and it cannot be dispensed with as MR. WEDGWOOD proposes that it should. HENRY HALFORD VAUGHAN. "HENRY V.," I. ii. (6th S. vi. 5).—MR. H. HALFORD VAUGHAN, seemingly thinking of "ladling up," objects to the quarto "lading up," and proposes to read "laying up." But we talk of lading up or loading up a ship, in the sense of storing up its cargo; hence it may be taken in this passage as synonymous with "laying up." But MR. VAUGHAN would alter it, because Shakespeare, the writer who of all English writers has used the greatest number of English words, has elsewhere twice used "laying up." Or, to put it in another form, William Shakespeare, writing in 1599, preferred, so far as the evidence goes, "lading up," but we who live in 1882 are to prefer," laying up." Now, to turn to the folio change of "kneading up." MR. VAUGHAN speaks of it as an amendment made by the first folio," as though he took it to be a change made by the editors. Can a single fact be adduced which supports such a supposition? Can he point to a single change which can be set down to these editors? The usual belief is that they took too little editorial care, took what came to their hands, and did not even revise the additional blunders of the printers. Lastly, I would ask, Is MR. VAUGHAN aware that the folio version differs from the quarto in very many verbal changes (I speak not of probable additions) evidently made on revision, for by far the greater number-nearly all-are manifest improvenients? To our better knowledge "kneading up" is a less correct phrase as applied to honey than to wax making; but this is no reason for saying that | Shakespeare, acting on a pre-Huberian knowledge of bees, had to his contemporaries destroyed the effect of this beautiful passage. He wrote up to, but not beyond, the natural history knowledge of his age. When MR. VAUGHAN has proved that the kneading up of the honey was then a known vulgar error, omitted by Sir Thomas Browne, it will be time to reconsider the passage. Breadmaking is not a series of natural processes, but kneading is one of them. So to our Elizabethan ancestors the honey was a product made by the bees, and in their ignorance the kneading up of the wax may well have applied or extended to the manufacture of honey. We still more commonly speak of "making honey" rather than of gathering it, and to quote only one passage from Batman, b. 18, c. 12, 1582, "And Bees sit......on flowers ......and gather matter, of the which they make both honie and wexe." BR. NICHOLSON. P.S.-If the reader will look at pp. 890, 896 (bis), 907, 909, of Th. Mouffet, 1658, added to one edition of Topsell, he will see that the then general view was that bees did not gather, but made, honey. From the passages also at pp. 907, 909, I am led to suppose that Shakespeare's kneading was the kneading or working up in the bees' stomachs or "ventricles" (Lat. ventriculi) of the pabulum that produced the honey. "Are of " more strong constitutions, and therefore are better able and do take more pains, to refine and work the honey in their ventricles" (p. 909). "HAMLET," I. iv. 36 (6th S. vi. 23).— Doth all the noble substance of a doubt The first who saw from the text of the play itself that eale stood for evil, or ill, was, I believe, Dr. George Macdonald. Reading, at a later date, this second quarto, I came across the same proofs, and independently and of myself arrived at the same conclusion. In that line of Hamlet's soliloquy determining on the play test, and which in our usual noting is II. ii. 575, we find : "The spirit that I have seene or May be a deale, and the deale hath power." If the writer or the compositor twice in one line spelt devil as deale, even when in the first instance it was to be pronounced dissyllabically, he would spell evil as cale. The sense, too, seems-even as the corrupt passage stands-to point to "evil" "ill"; still more does it if we alter the evidently erroneous "of a doubt" to "oft endoubt" as proposed by me in the Cambridge Shakespeare. The sense is, a little base alloy will depreciate a sovereign's (or a man's) worth in public estimation below even its true worth. We have lately had a notable instance of this in the case of an illustrious writer and thinker. As to D. C. T.'s proposed leaven change, I would say, in addition, that Shakespeare's use of a leaven metaphor in 1. 29 is to me a certain proof that he did not use it in 1. 36. "LEAR," IV. vi. 278.— BR. NICHOLSON. UNACCENTED WORDS IN MODERN GREEK AND OTHER LANGUAGES. the words To Kovdúdióv μov, which mean in I lately asked a Greek gentleman to pronounce modern Greek " my pen," and in which the pov is a so-called enclitic, its accent having been drawn back to the last syllable of the preceding word. At first (it was in the street I asked him) I heard nothing but Tò kovdulóv; and when I told him this, he smiled, and said it was what he expected. But on his repeating the words three or four times, I did, or thought I did, detect an m after the final v of the Kovsúdióv, but this m was scarcely as strong as the m in yes 'm=yes, ma'am.* This pro I regret I did not ask him also the pronunciation of * the accent of the second of them is usually rather thrown backward to the me than forward to the donne, though no doubt if it were wished to give more emphasis to the le, we might pronounce I'l mě-lé donne." 66 In German, among the educated classes, there is not, I think, a great deal of this slurring over words, but it is very common in the poorer classes, as may be seen by a reference to Frommann's Deutsche Mundarten.+ Still, every one who knows anything of spoken German must be aware that the articles, both definite and indefinite, do not, unless there is any special stress upon them, get the same amount of accent as the words to which they belong. Thus, e. g., einmal (really two words) is very frequently pronounced very much like a mál, in which the accent of the first word is carried on to the second. nunciation, or rather non-pronunciation, of the uov was quite a revelation to me, and may also be to ancient Greek scholars who have never heard modern Greek spoken. I had long wondered how the ancient Greeks pronounced their enclitics, and now I had a probable solution of the difficulty, and it was a solution which I had not anticipated. Until then I had not dreamed that we had in English also a number of virtual enclitics, though they were not dignified with so fine a name. Who could have supposed that Mary, when she calls her mistress 'm* instead of ma'am, is guilty of nothing more nor less than of turning her into an enclitic! As I have said, there must be a great number of enclitics in English, that is, of words which have an accent of their own, but very frequently, especially in conversation, give it up in favour of the word which precedes them. But one great difference in English is that we very frequently In Dutch, however, this transference of accent attempt in writing to imitate this pronunciation, appears to be more common. Thus, wij (we), gij whereas in Greek the spelling remains unaltered, (you), zij (they) are, strictly speaking, pronounced to the confusion of the learner of the language. much as wy, chy, zy (the y as in Eng. by and the Examples in English are the n't in don't, can't, ch as in Germ. Loch), but in ordinary converavon't, shan't, mustn't, &c.t; the d in I'd, he'd they'd, sation they are pronounced wě, yě, zě§ (the e as in &c. I would, &c. Him and her, again, commonly Fr. de), and the accent passes on to the following lose their accent in conversation, and together with verb. In Ahn's Grammar (p. 9), again, I find a it their h (excepting in the mouths of purists), | list of abbreviations, in which daar (there) is frewhen they follow a verb (as in I'll give him, quently written 'r before aan (on or at), toe (to), &c.), but it is seldom that this change is ex-uit (out or from), mede (with), bij (by), and therepressed in writing. In the case of them, how- fore it is evident that daar loses its accent in ever, it was common formerly, even among favour of the following word. Ik (I) also is written the educated, to pronounce it 'em, and it was 'k, des (of the) 's, het (it) 't, te (to) t', and thus in often so written. But what need is there for me these cases also there is a transference of accent. to multiply examples? Every Englishman can We often find, again, een' written instead of eenen, supply them, for in no language, I suspect, are they zijn' for zijnen, uw' for uwen, hunn' for hunnen, so numerous. With us, too, monosyllables fre- geen' for geenen, &c., so that it is clear that the quently give up their accent in favour of words final en is slurred over in favour of the following that follow them, as, e. g., à mán, thě mán, their word; and I think this is more or less the case wáy, &c. And sometimes in the course of a few with the en in similar cases in German, though words we find one accent thrown back and another there it is never left out in writing. forward, as in "Lét-them have their-way." * I.e., the me le is pronounced mel', the e, however, keeping the same sound as in me alone. ference of accent is backwards, as in our let me, and I do not go into the question of the pronunciation of the other consonants. § And they are sometimes so written, with the exception that ye is written je, as j is pronounced like our y in Dutch. It seems, however, that gij is also abbreviated into ge. is for In the case of 's and t' (te), I should say the transference of accent would be always forwards. In the case of 't (het) it may be either way, forwards, as in het is our 'tis it is, 't hoofd het hoofd (the head), or backwards, as in "Zoo gij 't aan mij wilt overlaten" (If you will leave it to me). With regard to 'k, I cannot find an example in which it is so written, though I should imagine it would be more slurred over when it follows a verb, as it frequently does in Dutch, as in hoop ik, geloof ik, &c. (when the transference of accent would I think, then, that I have shown that in the case of other languages* besides ancient and modern Greek there are words which are commonly or often unaccented, though they are not so readily recognized as in Greek, as there they possess a special name and the accented syllables bear an accent. In Greek, however, the transference of accent seems always to be backwards, whilst in the other languages I have quoted, with the exception of English, it seems more often to be forwards. In English, however, there are plenty of genuine enclitics. This is, of course, the merest sketch. F. CHANCE. WHERE ARE THE ORIGINAL "HOURS" This question has been asked three times (5th S. vi. 48; vii. 288, and 6th S. vi. 168) and only two inadequate answers have been attempted. The last of these may be disposed of first. It is dated from Cincinnati, and its entire erroneousness must be ascribed to the confusion of ideas resulting from the too comprehensive way in which some Americans visit Europe. The writer says (5th S. viii. 196) that not only the "Hours" but the "Fates" and "Virtues" are painted on the ten pilasters of the Sistine Chapel. Now the painting of the Sistine Chapel embodies one sole idea, which, for the sake of brevity, may be called the complete myth of Christianity pictorically rendered. Though the panels of the side and west end walls are by Botticelli and others, and the ceiling and east end wall by Michael Angelo, yet this one purpose informs the whole work. The pilasters are purely decorative, and bear no figures but the well-known series of portraits of the Popes in their niches by the painters of each neighbouring panel. In the lower part of the vaulting are twelve figures, but they, as every one knows, represent prophets and sibyls, and are by Michael Angelo. There is no place, in either sense of the word, for these allegorical beings. Moreover, Raphael never painted any thing in the Sistine. The other answer (5th S. vii. 318, and repeated 6th S. vi. 169) is more valuable. The tradition that the "Hours" had been seen decorating a clockcase in the Vatican is interesting and likely enough to be correct; but I do not think these could have been the originals. During twenty years that I have known Rome I have made frequent efforts to clear up this question, by the aid of Roman friends acquainted with art and with the Vatican, and with varying results. By one it was asserted be backwards), than when it precedes a verb, and the transference would be forwards. *And no doubt examples are to be found in every language. that they were never in the Vatican, but in a palace in the Borgo, which was burnt down; by another, that they had never been frescoed, and had only existed among the master's sketches and had been stolen; by another, that they were designs for tapestry and had been sent away for execution and gone astray, besides other more conjectural statements. Montagnari's Esposizione Descrittiva delle Pitture di Raffaello nelle Stanze Vaticane certainly makes no mention of them, and the Roman Professor Vico, whose life-long devotion to the study of Raphael's works has earned him the citizenship of Urbino, is on the side of those who doubt that they were ever painted by him. On the other hand, any one who has studied them cannot but feel that the essence of their beauty lies more in their colouring than in their drawing that they must have been originally conceived in colour. And then the general tradition that they were painted by Raphael in the Vatican is too strong to be put aside. My own conclusion from all I gathered about them was that they originally decorated one of the Borgia apartments, and that, having become damaged, they were painted over at a period when it was not yet realized that the genius of Raphael was going to be proved so unique, and that afterwards, as no one was proud of having committed the mistake, the fact was studiously forgotten. The question will then be asked, "How were all the photographs of them obtained which meet the visitor to Rome in every shop?" The answer is that the whole of these are certainly taken from the cartoons of Consoni, the Roman historical painter, who revived them in his studio in the Ripetta about a quarter of a century ago, and if I mistake not executed them on a series of panels for the decoration of Buckingham Palace. Up to that time there existed no memorial of them but a set of inferior engravings, though Signor Consoni remembers having seen in his youth a print or drawing of the Sala (in the Borgia apartments of the Vatican), where the signs of the Zodiac still remain, in which these twelve "Hours" were roughly indicated as having at one time been there also. R. H. B. A NOTE ON FITZ-STEPHEN.-In the curious account of the City of London given by FitzStephen (temp. Hen. II., A.D. 1154-89) and published in the Monumenta Gildhalla Londinensis of the Rolls Series, A.D. 1860, vol. ii., there occurs the following passage, relating to the cookshops of London : "Hæc equidem publica coquina est, et civitati plurimum expediens, et ad civilitatem pertinens. Hinc est quod legitur in Gorgia' Platonis, juxta medicinam esse coquorum officium, simulacrum et adulationem quartæ particulæ civitatis.—Liber Custumarum, pt. i. p. 7." On this passage the editor, in the glossary, under |