Notes and Queries

been appropriated to the library. Books could occasionally be borrowed from libraries. Our authority for this is again Aulus Gellius. Before the empire libraries were built. Lucullus had a fine collection of books, which seem to have been as much at the disposition of his friends as was in long subsequent times that of Grolier.

At this period we awake to the fact that the mátter we discuss occupies only twenty pages in a volume of over three hundred, and we have to arrest progress without having given our readers a taste of the good things they have a chance to enjoy. In dealing with the libraries of mediæval monarchs and institutions Mr. Clark is at his best, and the designs of the libraries of the Vatican, the Escurial, and the great edifices ecclesiastic and collegiate, are of unending interest and value. We cannot attempt to convey a faint idea of the value of the text and the illustrations, and only resign ourselves to the thought of our powerlessness by the reflection that book-owners will soon count this among their treasures, and will be able to gloat over it at leisure. Under these circumstances the less we attempt to describe the greater may possibly be our claim on their gratitude.

The Works of Thomas Kyd. Edited by Frederick
G. Boas, M.A. (Oxford, Clarendon Press.)
A COLLECTED edition of the works of Kyd, edited
from the original texts, is a welcome addition to
our pre-Shakespearian literature. The plays with
which, on evidence more or less convincing, Kyd is
credited have long been accessible to the student.
It is, however, satisfactory to possess them in a
single volume, together with the other works which
may be ascribed to him, and with such biographical
particulars concerning his education and his asso-
ciation with his fellow-dramatists as survive.
Little exact information is current concerning him,
and of the plays contained in the present volume
two only are provedly his. The Spanish Tragedie;
or, Hieronimo is Mad Againe, containing the
lamentable end of Don Horatio and Belimperia,
with the pitifull death of Hieronimo,' is men-
tioned as Kyd's in Heywood's Apology for
Actors,' and Pompey the Great, his faire Cor-
neliaes Tragedie,' is said on the title-page of the
edition of 1595 to be "written in French by that
excellent Poet Ro: Garnier; and translated into
English by Thoma Kid." "The Tragedye of Soly-
man and Perseda' rests on internal evidence,
which, though strong, is not absolutely conclusive.
Hawkins, in 'The Origin of the British Drama,'
conjectures it to be one of the dramas of Kyd, but
it is, in fact, anonymous, is not in the original
divided into scenes, and is said by Langbaine not
to have been acted. There remains The First
Part of Ieronimo, and the Life and Death of Don
Andrea. Opinions concerning the authorship of
this differ. Mr. Sidney Lee, in his life of Thomas
Kyd (D.N.B.'), holds that there is adequate
internal evidence for assigning it to the same pen
to which we owe The Spanish Tragedie.' On the
other hand, Mr. Boas deprives Kyd of the author-
ship of this piece. That a fore part to 'The Spanish
Tragedie,' presumably by Kyd, was in existence in
1592 is held probable. That the piece is preserved
in 'The First Part of Ieronimo' of 1605 meets with
an "unqualified negative." To the popularity of
"The Spanish Tragedie' is ascribed the appearance of
the anonymous work in question, which it has been

said was printed in 1605, and contains, Mr. Boas holds, internal evidence of having been written in the seventeenth century, or from five to ten years after the date generally accepted as that of the death of Kyd. Not quite conclusive is in every case the internal evidence advanced. Hieronimo's references to his jubilee, I. i. 25 et seq., may be due to the jubilee of 1600. It is not inconceivable that they have another origin. We agree with Mr. Boas that the assumption that they are an interpolation is purely arbitrary. The frequent jests about the small stature of Ieronimo can scarcely be justified by the appropriation of the play by the Children of the Chapel at Blackfriars. There is ingenuity in the supposition, and the reference to the Induction to The Malcontent' is happy. When we read the well-known lines addressed to Ieronimo by Balthezer,

Thou ynch of Spaine;

Thou man, from thy hose downe ward, scarse so
Thou very little longer than thy beard,
much;
Speake not such big words, &c.,

it is difficult to conceive why, unless some actor
known to be of more diminutive stature than his
fellows was indicated, they are applied to Ieronimo
alone.. If all the parts were played by children the
insults lose their significance. Is anything known
concerning the stature of Ieronimo? If, as has
been supposed, Ben Jonson was the original Hiero-
nimo of The Spanish Tragedie,' such a reason
could not have been advanced.

Many plays have, with little apparent justification, been ascribed to Kyd. Malone believed him to have a hand in the first Taming of a Shrew' and in Titus Andronicus,' and Mr. Fleay would assign him 'Arden of Feversham,' a theory which has found little favour, but in support of which much may be advanced. A good deal of attention has been, however, accorded the notion that he was the first to dramatize the story of Hamlet. This first Hamlet, or, as Prof. Boas calls it, the "Ur- Hamlet," is attributed to Kyd. Kyd, it may safely be assumed, was the subject of a satirical attack by Thomas Nash in his prefatory epistle to Menaphon,' when he says, "If you entreate him faire on a frostie morning he will affoord you whole Hamlets, I should say handfulls of tragical speeches." These things have been the subject of much debate during recent days, and we can but refer our readers to the introduction of Prof. Boas. We are not prepared to accept the estimate of Kyd that the professor advances, but we are glad to have his works in a handsome and scholarly edition. Kyd's name frequently rises in dealing with the literature of Tudor times, and his association with Marlowe in the charge of atheism attracts special attention to him. The documents connected with this are included in this edition, as are Kyd's translation from Tasso and his tract on

The Murder of John Brewen.' Matter of great interest as illustrating Kyd's work is given in the appendices. The introduction and notes are excellent, and have separate indexes. A close study has been made of the Cornelie' of Garnier, a flat imitation of Seneca, which is, if possible, flatter in the rendering of Kyd. Prof. Boas has done a piece of scholarly work. There are a few other Tudor dramatists that call for similar treatment. Did Balzac get the name "la Belle Impéria" from the same source as 'The Spanish Tragedie'?

Barnaby Rudge. By Charles Dickens. 2 vols. (Methuen & Co.)

THESE Volumes begin apparently a new and desirable edition of the works of Dickens, to be called the "Rochester Edition." When the writings of a classic, such as Dickens must now be considered, pass out of the copyright stage and become subject to general competition, some advance in typographical attractions and comfort is to be expected. The masterpieces can scarcely be read under conditions pleasanter than are here realized. The type is excellent, the illustrations by Miss Beatrice Alcock reproduce faithfully the London of the epoch, and Mr. Kitton's notes are few and serviceable. Mr. Gissing supplies a discriminating preface, in which he uses terms of eulogy warmer in some respects than we might ourselves employ. It enhances, however, the pleasure of the reader, and the book deserves most that can be said about it. We fail to trace in Barnaby any suggestion of Madge Wildfire beyond the peacocks' feathers which he wears, and we look upon the reformation of Mrs Varden as an anticipation of the overflowing benevolence of the coming Christmas volumes. Women such as Mrs. Varden never improve. The characters generally are in Dickens's best vein, and the description of the riot is admirable. What a character for stage presentation by "Dicky" Suett would have been John Willet! It is a pity to find Dickens countenancing such heresies as "bye" for by and "from whence" for whence, but his style is

not now to be criticized afresh.

Notes for a Bibliography of Edward FitzGerald. By Col. W. F. Prideaux, C.S.I. (Hollings.) IN their original shape these notes for a bibliography appeared, as our readers are aware, in our columns (see 9th S. v. 201, 221, 241; vi. 61). With additions and with a reproduction of Charles Keene's clever and characteristic back view of FitzGerald, they have been issued in book form. They do not claim finality. It is difficult, however, to exaggerate their interest for lovers of the poet, and they are, apart from any other claims upon attention, models of discriminating, appreciative, and pleasant criticism. No lover of FitzGerald will dream of being without this delightful volume. Goethe: Hermann und Dorothea. Edited by C. A. Buchheim and Emma S. Buchheim. (Oxford, Clarendon Press.)

WE need only say that this edition reaches the level of its predecessors, which will be ample praise to those who know the late Prof. Buchheim's editions of the German classics. Deeply do we regret that a life so industrious and so well spent in bringing the treasures of a great language and literature before us is finished, while we hope that his mantle of interpretation and scholarship may fall upon his daughter, who has finished this edition. There is a sympathetic sketch of Dr. Buchheim by Prof. Dowden.

Chivalry. By F. Warre Cornish, M.A. (Sonnenschein & Co.)

THIS work of Mr. Cornish is the latest addition to that "Social England Series" which has already given us books such as Mr S. O. Addy's excellent Evolution of the English House' and Mr. Inderwick's 'The King's Peace.' It is written with much spirit, capitally illustrated, and constitutes agreeable reading. Quite optimistic is it as regards

its treatment of chivalry, and it is to a certa extent a defence of that institution against attacks of Freeman and other recent critics. A such it is welcome. One may not dismiss in a fex glib phrases an institution such as chivalry; ar while it is true that the time of the Crusades is on! of the saddest and most sterile in history, who war was the breath of life and the shedding blood the only occupation worthy of a gentlen the romantic sentiment and refined idealism whi sprang out of such a state of affairs have influence. greatly and beneficially our later civilization. Li all works on chivalry, the book owes much to th writings of Curne de Sainte Palaye, but it co not have a better source. It is a work to be ke near at hand for constant reference.

Apropos of the discussion on 'Painted and E graved Portraits,' begun by MR. MASON 9th S. v 341, and continued 9th S. vii. 438, 470, 512: viii. MR. DUNCAN, of the "Britannia," Whitefie Govan, Glasgow, has sent us a singularly intere ing and effective portrait of Scott, to which E alludes at the last reference. It is modelled fro the Chantrey bust and "coloured" from the be existing portraits, and is very lifelike.

UNUSUAL advantages are offered those who no subscribe to the admirable English Dialect D tionary' of Dr. Joseph Wright. The preparatio of the work has taken over a quarter of a centur Four of the six volumes have been printed, and t whole will be in the subscribers' hands in 19 Those anxious to understand the nature of the exemplary work and the terms on which it can po be obtained should write to Prof. Joseph Wrigh Langdale House, Park Town, Oxford.

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