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FRANCIS, Notes and Queries Office, Bream's Buildings, E.C. TWELFTH EDITION, price Sixpence, cloth. EMARKABLE COMETS: a Brief Survey of the most interesting Facts in the History of Cometary Astronomy. By W. T. LYNN, B.A. F.R.A.8. RE KING'S CLASSICAL AND FOREIGN QUOTATIONS. NOW READY. 6s. net. We have to announce a new edition of this Dictionary. It first appeared at the end of '87, and was quickly disposed of. A larger (and corrected) issue came out in the spring of 1889, and is now out of print. The Third, published in July, 1904, contains a large accession of important matter, in the way of celebrated historical and literary sayings and mots, much wanted to bring the Dictionary to a more complete form, and now appearing in its pages for the first time. On the other hand, the pruning knife has been freely used, and the excisions are numerous. A multitude of trivial and superfluous items have thus been cast away wholesale, leaving only those citations which were worthy of a place in a standard work of reference. As a result, the actual number of quotations is less, although it is hoped that the improvement in quality will more than compensate for the loss in quantity. The book has, in short, been not only revised, but rewritten throughout, and is not so much a new edition as a new work. It will be seen also that the quotations are much more “racontés" than before, and that where any history, story, or allusion attaches to any particular saying, the opportunity for telling the tale has not been thrown away. In this way what is primarily taken up as a book of reference, may perhaps be retained in the hand as a piece of pleasant reading, that is not devoid at times of the elements of humour and amusement. One other feature of the volume, and perhaps its most valuable one, deserves to be noticed. The previous editions professed to give not only the quotation, but its reference; and, although performance fell very far short of promise, it was at that time the only dictionary of the kind published in this country that had been compiled with that definite aim in view. In the present case no citation-with the exception of such unaffiliated things as proverbs, maxims, and mottoes-has been admitted without its author and passage, or the " chapter and verse in which it may be found, or on which it is founded. In order, however, not to lose altogether, for want of identification, a number of otherwise deserving sayings, an appendix of Adespota is supplied, consisting of quotations which either the editor has failed to trace to their source, or the paternity of which has not been satisfactorily proved. There are four indexes-Authors and authorities, Subject index, Quotation index, and index of Greek passages. Its deficiencies notwithstanding, Classical and Foreign Quotations' has so far remained without a rival as a polyglot manual of the world's famous sayings in one pair of covers and of moderate dimensions, and its greatly improved qualities should confirm it still more firmly in public use and estimation. KING'S CLASSICAL AND FOREIGN QUOTATIONS. London: J. WHITAKER & SONS, LTD., 12, Warwick Lane, E.C) " NOTES:-Footfalls and Music, 161-Robert Greene's Prose the Scots or any other language," adding, These two lines, And will I see his face again, His very foot has music in 't, As he comes up the stair, Works, 162-Four Etymological Notes-Harvest-Time, 164 as well as the two preceding ones, "Coop," to Trap-Vane of Kent, 165-"Jiggery-pokery" Henry Lucas -Easter by the Julian and Gregorian Styles, 166-Modern Alchemy: Making Diamonds-How the English Press obtained Copies of the Treaty of Peace, 1815, 167. QUERIES:-Original Registers Sought-George III.'s Daughters-Wheel as a Symbol in Religion-Gibbon, 167 -Labyrinth at Pompeii - Cardinal Mezzofanti-Gytha, Mother of Harold II.-Stanihurst: Walsie-Oscar Wilde's 'De Profundis'-St. Paulinus and the Swale-"Of" after "Inside"-Authors of Quotations Wanted-King John poisoned by a Toad-The Almsmen, Westminster Abbey, 168-Famous Pictures as Signs-Pictures from Julius Cæsar'-Darwinian Chain of Argument-Chess between Man and his Maker-Premonstratensian Abbeys -The Nothe, Weymouth-Peerage Titles-Cumberland Dialect -Roger Ascham: Schedule," 169. REPLIES:-Yorkshire Dialect, 170-Tripos: Tripos Verses -Joseph Anstice, 172-Rates in Aid-Moon and Haircutting-The Birthday of George III.: Old v. New Style, 173-Nelson Column-Palindrome, 175-A Nameless Book -Looping the Loop-Ballad of Francis Rényl-Prayer for Twins-Coliseums Old and New, 176-Adolphe Belot"Bombay Grab"-Academy of the Muses, 177-Lulach, King of Scotland, 178. NOTES ON BOOKS :-'Middle Temple Records'-'Memoirs of Lady Fanshawe '-' Memoirs of Robert Carey '-'The Quarterly Review. Notices to Correspondents. Notes. FOOTFALLS AND MUSIC. ONE of the most familiar of Scottish songs, which is appropriately wedded to a tune that is a universal favourite, is 'There's nae Luck about the House.' Mr. Stopford Brooke and other literary historians have named this lyric 'The Mariner's Wife,' and assigned it its share of importance in the Romantic Revival of the eighteenth century. It cannot be definitely said who wrote the song. It is attributed on the one hand to Jean Adams (1710-65), a Greenock schoolmistress, who was a persistent versifier, but in her acknowledged work produced nothing with the distinctive quality of this lyric. On the other hand, it has been confidently held to be the work of W. J. Mickle (1734-88), translator of 'The Lusiad' and author of 'Cumnor Hall,' the haunting ballad that captivated the youthful fancy of Sir Walter Scott. A MS. copy of the piece was found among Mickle's papers after his death, but as he himself never published it and has nothing else in the same strain he cannot be decisively named the author. Burns, with his characteristic enthusiasm for the good work of others, .considered 'There's nae Luck about the House' "one of the most beautiful songs in are unequalled by almost anything I ever heard or read." An interesting point arises in connexion with this musical imagery. A contemporary of Jean Adams and Mickle was James MacPherson (1738-96), who produced his startling Ossianic poems between 1762 and 1764. Malcolm Laing, the Scottish historian, was one of the most resolute sceptics regarding Macpherson's alleged discoveries, and he devoted a section of his work to a trenchant if overdrawn criticism of their character. He is probably right in asserting that the Ostensible translator was really the author of the 'Fragments' and the 'Epics' with which he astonished the civilized world, and he is certainly fanciful, and sometimes even unjust, in many of his attempts to prove him an unscrupulous plagiarist. One of the points he endeavours to make bears on this question of musical footfalls. Macpherson rapturously says of an ineffable woman, "Loveliness was around her as light; her steps were the music of songs," thereby showing poetic insight and feeling kindred with those illustrated in the Song of Solomon. Laing feebly says that this perfect imagery rests on 'Paradise Lost,' viii. 488 :— Grace was in all her steps, Heaven in her eye, In every gesture dignity and love. This is not the kind of attack by which critical deeds are accomplished; such tentative and futile efforts serve rather to reveal the impregnable strength of a fortress than to prove the resistless tactics of the assailant. Macpherson's first clause was probably suggested by Psalm civ. 2, and it may owe something to Marlowe's peerless tribute to Helen of Troy, Oh! thou art fairer than the evening air, Clad in the beauty of a thousand stars; but, when all is said, he is fully entitled to credit for the compact splendour and the exhaustive brevity of his figure. The subsequent metaphor inevitably suggests that which Burns chose from the Scottish song for special commendation, but it has, at the same time, sufficient individuality to stand apart and proclaim its independence. Still, it would be of curious interest to know which of the two cognate figures had the earlier existence. If Jean Adams wrote "There's nae Luck about the House,' it is almost certain that she anticipated Macpherson, for ROBERT GREENE'S PROSE WORKS. (See ante, pp. 1, 81.) I MAY now deal with Greene's larger repe titions. From the Princelie Mirrour of Peerelesse Modestie' (Grosart, iii. 18), at the words "Be not amazed, mistresse Susanna," to "And with that she cried with a loud voice (28), being Susanna's remonstrances with the Elders, becomes " Bernardo's discourse to Isabel" in 'Never too Late' (viii. 147-57). At that point in the latter piece some sonnets intervene then there are a few passages in common (iii. 29; viii. 159, &c.). And on p. 32 in Susanna's tale her fine speech after her sentence, beginning "O God, which seest the secrets of all hearts," is put into Isabel's lips on pp. 161 to 163 in 'Never too Late.' About thirteen pages in all are common to the two pieces. Slight alterations (merely of names, or in the personal pronouns) were made where required. From the Anatomie of Fortune' (iii. 192) the lines "Juno strove but once with Venus, "make the and she was vanquished," to sore more dangerous" (193) appear again in Alcida' (ix. 32), with the difference that the salamander is deliberately set aside, after a few other having served so faithfully; lines (iii. 215 and ix. 34) are common to both pieces, but "Zutho" is changed to "Zathe." As this passage is taken from 'Euphues and "Zutho is his England,' we learn that correct. From the 'Carde of Fancie' (iv. 36 and 38) " passages concerning the elephant and the From Planetomachia' (v. 53), as she stoode in a window...Rodento, amazed at the sight of such a heavenly creature" (54), to "wolves to bark against the moone" (not Syrian wolves), on p. 55, appears again in 'Perimedes' (vii. 66, 67). Again, in the same tracts, on p. 75 in 'Planetomachia,' the words "Ah, unhappie Pasylla," to " play the woman and seeke to revenge" (p. 77), are transported bodily into Perimedes' (vii. 74-6) with the barest needful changes. I am dealing here with verbal repetitions, but it is hardly necessary to point out that the tales are the same in outline, otherwise so many portions would not mortise harmoniously into either composition. Dyce has pointed out that Francesco in Never too Late' and Roberto in Greene's 'Groatsworth of Wit' have much in common, both characters being pictures of himself, and some of their adventures his own. More verbal repetitions were obvious in Greenisms," my previous article devoted to these being generally scraps, and not wholesale transferences. And yet more will appear presently, for many of Greene's passages are from 'Euphues, practically verbatim, and these valuable aids often do duty more than once. I will set forth the more prominent of these assimilations next. In several cases these metaphors, common enough later, are primarily due to Lyly's 'Euphues.' references to where Greene repeats them. Several may have been in use earlier, but I have not found them. 66 5. When they shall see the disposition the one of the other, the Sympathia of affections (46); But nature recompensed ye 1. "Helen [had] hir scarre in hir chinne, dissimilitude of mindes, with a Sympathy of which Paris called Cos Amoris,' the whetstone bodies" (ibid., 236, and elsewhere in Euof love" (34). "Paris called Helen's skar, 'Cos phues'). "And I praie you what Sympathia amoris, Mourning Garment' (ix. 171). There could there bee betweene a livelie youth and is a very quaint misprint in Dekker's Gull's a dead stone?" Follie and Love' (iv. 219), Horn Book' (1606), Gros. ii. 212, which is 1587; "Hereafter we may write our loves in explained by this passage: "flawes that (like one Simpathie," Never too Late' (viii. 41); the Mole on Hatten's cheek, being os amoris,) "Jubal exercised Musike, and spent his time stuck upon it......and made it looke most in practising the simpathy of sundry sounds," lovely." This is good, but Grosart is excel-Mourning Garment' (ix. 179). Lyly seems lent. In his Index (s.v. Hatten) he says, to have introduced this word. "Nott (whose edition is well-known) has an odd note. Certainly the Lord Chancellor, Hatton, was meant." I am not again going to quote Grosart's notes. I have not done so hitherto. I am sorry I have not Nott's edition to refer to in order to see what he says. "Venus had hir Mole in hir cheeke", precedes the above in 'Euphues'; Greene has it in 'Tritameron' (iii. 52). 66 6 2. "It is proper for the Palme tree to mount, the heavier you loade it the higher it sprowteth......Nature doth beare sway" (41). "The Palme tree the greater weight it beareth, the straighter it groweth," Carde of Fancie' (iv. 183), 1584; The Palme tree, the more it is prest downe, the more it sprowteth uppe," 'Philomela' (xi. 199), 1592. And iv. 30; ix. 28, &c. One of the very few Euphuistic passages in Sidney's 'Arcadia' (book iv.): According to the wont of highest hearts, like the palm tree striving most upward when he is most burdened." But it is also in Primaudaye, chap. v. (1586). 3. "One yron Mole defaceth the whole peece of Lawne. Descend into thine owne conscience," &c. (39; and again 152). "Ladyes honors are like white lawnes, which soone are stayned with everye Mole," Perimedes' (vii. 79); "The finest Lawne hath the largest moale," Mourning Garment' (ix. 123); "The finest lawne the soonest stained," "The Repentance' (xii. 155), 1592. And viii. 45. 6. "Though the Camomill the more it is troden and pressed downe, the more it spreadeth, yet the Violet," &c. (46). "The herbe tasill, the which the more it is crushed the sooner it springeth,......or the camomill, which the more it is troden with the feete the more it flourisheth,' 'Arbasto: the Anatomie of Fortune,' 1584. And again in Greene (iv. 183, &c.). Whitney has this sentiment as an emblem of the dock (Greene's ed., 'Choice of Emblems,' p. 98). 1586. Camden, Marston, Chapman, and Webster used it, besides Shakespeare. Lyly applies it to the poppy later in Euphues' (1580), p. 291. 7. Which if I may obteine, assure your selfe, that Damon to his Pythias, Pilades to his Orestes, Tytus to his Gysippus, Theseus to his Pirothus, Scipio to his Lælius, was never founde more faithfull, then Euphues will be to Philautus" (49). I omit italics, as I do u for v. Greene has the first three pairs of this gallery in 'Follie and Love' (iv. 211) and in A Disputation between a hee and a shee Conny-catcher' (x. 256), 1592. And in 'The Royal Exchange (vii. 243), 1590: Such was the friendship of Damon and Pythias, of Scipio and Lælius, of Pilades and Orestes, and divers others." We get them continually in lesser numbers elsewhere. 66 teacheth me that the fairer the stone is in the Toades head, the more pestilent is the poison in hir bowels," Arbasto' (iii. 209). The toadstone is an old myth, familiar from 'As You Like It,' II. i.; but it was popularized and developed by Lyly. 8. " The foule Toade hath a faire stone in his head" (53); and again : Experience teacheth me that......the fayrer the stone is 4. "If there be reasoning of divinitie, they in the Toades head, the more pestilent the cry, Quae supra nos, nihil ad nos" (46). "En-poyson is in hir bowelles" (327). "Experience dymion was counted but too rash in falling in love with Luna, Quæ supra nos, nihil ad nos, take heede, my sonne......gaze not with the Astronomer," 'Euphues to Philautus' (vi. 249), 1587; "His Aphorismes are too farre fetcht for me, and therefore, Quæ supra nos, nihil ad nos,' 99 6 Mourning Garment' (ix. 185). Dekker, a consistent plagiarist, comes in like a little popgun : Quod supra nos: Nihil ad nos (they say), that which is above our capacitie," &c., Wonderfull Yeare' (Gros. i. 81), 1603. The proverb was not often quoted. 66 9. "The sea Crab swimmeth alwayes against the streame (61). "With the crabbe to swimme against the stream," 'Planetomachia' (v. 115). And again ix. 32, &c. 10. "The Hart beeing perced with the dart, runneth out of hand to the hearb Dictamnum |