Munting considered it the Hydrolapas niger of ancient authors. This is a description of waterdock, possibly the grainless water-dock (Rumex aquatica) with which it has been identified by the modern writers, Sprengel and Desfontaines. Fee thought it the Inula Britannica, a kind of elecampane. It has also been considered a description of scurvy-grass (Statice) and the Polygonum persicaria. In addition to the writers mentioned in this article, your correspondent should consult the works of Du Molin, Fraas, Billerbeck, Lenz, and Dierbach, among the French and Germans who may possibly have essayed the identification of this particular plant. I know of no English writers who have devoted their special attention to this by no means unimportant subject, but trust that the Professor of Rural Economy at Oxford will eventually extend his researches, and follow up his recently published Essay on the Trees and Shrubs of the Ancients, by one on their plants and flowers. A. CHALLSTETH. 1, Verulam Buildings, Grey's Inn. to the conviction that the word cue, in its technical sense, was never used in the time of Shakspere except by clowns - the handicraft actors in the most lamentable comedy of Pyramus and Thisbe. In the Othello of 1623, as published by Mr. Lionel Booth (Tragedies, p. 312), we read, "Were it my cue to fight"; but in the quarto of 1622, as edited by Steevens in 1766, we read, "Were it my qu. to fight."-In the Hamlet of 1623, as published by Mr. Booth, we read, "Had he the motive and the cue for passion" (Tragedies, p. 264); but in the Hamlet of 1611, as edited by Steevens, we read, "Had he the motive, and that for passion." In the Lear of 1623, as published by Mr. Booth, we read, "My cue is villanous melancholly" (Tragedies, p. 286); but in the Lear of 1608, as edited by Steevens, we read, "Mine is villanous melancholy." In the two latter cases, the Q or Qu must have been misread. The most explicit evidence could scarcely be more forcible. BOLTON CORNEY. 1. "Antiloquy. A term which stage-players use, by them called their cue."-Henry COCKERAM, The English Dictionary. The 11th edition. LONDON, 1658. Sm. 8°. 2. "Q. A note of entrance for actors, because it is the first letter of quando=when, shewing when to enter and speak."-Charles BUTLER, M.A. The English Grammar. OXFORD, 1634. 4o. 3. "Antiloquy. The turn observed by stage-players in speaking their parts commonly called their cue."-John BULLOKAR, M.D. etc. An English Expositour. The 4th edition. CAMBRIDGE, 1667. 12o. I attach peculiar importance to the testimony of Butler. He was the contemporary of Shakspere; and, as an academic, might be familiar with plays. Wood records him as "an ingenious man, and well skilled in various sorts of learning." His works are in much request. Ob. 1647. Here it was my intention to withdraw, but a further examination of some early texts has led me WILLIAM MOLYNEUX'S MONUMENT. (3rd S. vii. 417.) church of St. Audoen, Dublin, in the vault of the William Molyneux was buried in the ancient Usher and Molyneux families, who, connected by marriages, were still more kindred by congenial pursuits and attainments. The monument was erected above this vault in the part of the church now roofless and fast passing on to ruin. The second Sir Capel Molyneux, Grand Nephew to Wm. Molyneux, visiting St. Audoen's a few years before his death, found the monument so dilapidated, and the epitaph so illegible, that he had it taken down and sent to a marble yard for repair. Illness and family afflictions visited the old gentleman soon after, and it is supposed that the matter passed from his mind. At his interment in the same vault, the absence of a monument was noticed, and upon hearing the sexton's statement, Sir Capel's executor instituted immediate enquiry, ascertained the marble yard to which it had been sent; but from the death of the original proprietor, the property had passed through so many hands, that the fate of the monument would have remained a mystery, had not an old stonecutter, hearing the conversation on the subject, come forward and stated that he remembered working up a slab with that name on it, and that possibly there were fragments of it still amongst the rubbish of the yard; a search was made, and two or three pieces were found, which incontestably bore portions of the Latin epitaph. It is a strange misadventure that Sir Capel Molyneux, who revered the character and memory of the author of The Case of Ireland as an honour to his family and country, should have been the cause of the destruction of his monument! It is at present contemplated by a connection of the family to erect a fac-simile where it formerly stood. The statue now in Armagh Cathedral is of Sir Thomas Molyneux, Bart., the younger brother of William. It is a fine work by Roubilliac, standing on a base highly ornamented in relief, and was probably executed when that sculptor was employed on the bust now in Trinity College library, and when William Molyneux was M.P. for Trinity College or the city of Dublin. It was not a monumental statue; at the end of the last century it stood in a wooden house in the wood at Castle Dillon, the family seat in the county of Armagh, the intention having been to erect a suitable building over it. That idea being finally abandoned, it was removed for safety to a vault under the old mansion, the weight being too great for any floor in it; finally, on the restoration of the cathedral of Armagh by the late Archbishop Beresford, the statue was given to him by the then baronet, Sir Thomas, for the adornment of the aisle where it now stands. The inquiry in "N. & Q." (3rd S. viii. 50) relative to the obelisks near Kew, induces the writer to add that the only son of William Molyneux, Samuel, married to Lady Elizabeth Capel, Secretary to Frederick Prince of Wales, and a Lord of the Admiralty, resided at Kew, and there pursued the highest scientific investigations. He erected the first observatory there, and upon his death the property appears to have been purchased by George III. Any information relative to this transaction and to the sale of Samuel Molyneux's books and philosophical instruments which can be afforded in the pages of "N. & Q." will be thankfully acknowledged. E. M. C. "A COPY OF YOUR COUNTENANCE" (3rd S. viii. 30.) With reference to the phrase "That is a copy of your countenance," signifying, "that is not spoken with perfect sincerity," that is an “ attempt to disguise your meaning," you have thrown out a hint that the word "copy" may, in this particular instance, be the modern representative of some older term, signifying concealment or disguise. In support of this view I would remark that there exists a large family of words in various languages, which signify disguise, concealment, or deceit, and one or the other of which may be represented by "copy" in the phrase now in question. Thus we have cappa, capa, cofa, cofia, &c., in Med. Latin; cop, cappa, and cæppe (pronounced kappe) in Anglo-Saxon; chape in French; capa in Spanish and Portuguese; coppola in Italian; coif, cope, &c., in English. These words have in common some such primary sense as cape, cap, hood, or cowl; but many of them pass into the meaning of a disguise, pretext, or concealment. Thus in Spanish, "La capa de religion," the disguise of religion; "con capa de cortesía," under pretence of civility. So in Portuguese, "Com capa de," under pretence of. So in French, "Sous chape," secretly, clandestinely. The phrase then may have been originally something of this sort: "That is a cope;" ""that is a cofia;" or "that is a kappe." Hence, "That is a copy of your countenance. The man, that his thoughts might not be read in his looks, hid his face in his hood, just as, to conceal ridicule, he "laughed in his sleeve." SCHIN. ROGERS AND BYRON (3rd S. viii. 73.) — It is scarcely possible that Byron should have been the author of the lines beginning "Pleasures of memory! oh, supremely blest." They are quoted by Rogers in an edition of his Poems, published in 1802, as having been written on a blank leaf of the poem," that is to say, in a volume of a previous edition. Now in 1802 Lord Byron was only fourteen years old, and the words of Rogers would throw back the probable date of the production some two or three years before, at latest. Even supposing that Byron had written them in a fit of boyish gloom, we can hardly imagine that Rogers would have cited them (as he does) to illustrate the sensations of the "fond fool" looking back on an ill-spent life. And to me, certainly, the lines do not appear to bear much resemblance either to Byron's mood or his manner. C. G. PROWETT. MR. EASSIE is certainly wrong in ascribing the lines "Pleasures of memory! oh, supremely blest," to Lord Byron. They occur in a note to Rogers's Pleasures of Memory (ed. 1801), and are thus introduced: "The following stanzas are said to have been written on a blank leaf of this poem. They present so affecting a reverse of the picture that I cannot neglect the opportu nity of introducing them here." I am enabled to state, on the authority of Lord Brougham, that Rogers, who greatly admired the author, and that he was a young man who them, told Lord Brougham that he had discovered went to India and died there. WILLIAM J. THOMS. CARABOO (3rd S. viii. 94.)-I cannot think that the smallest credit is due to the tale of Caraboo at St. Helena. It is prima facie too romantic and improbable; but it is totally at variance with recorded facts. It is well known that Sir Hudson Lowe had in all only five interviews with Napoleon at St. Helena. The last of these took place on the 18th August, 1816; and all that passed in it is detailed in the History of the Captivity of Napoleon, &c. from the Letters and Journals of Sir Hudson Lowe, vol. i. p. 245. Now the pretended arrival of Caraboo, and her presentation by Sir Hudson Lowe to Napoleon, are placed in the summer of the next year, 1817. But the whole account is overdone, inconsistent, and full of absurdities. Who could believe that any amanuensis in the State Paper Office would so far commit himself, as to forward a letter from Sir H. Lowe to a newspaper? Or who could imagine that shrewd governor likely to be imposed upon by Caraboo, or that Napoleon, of all men, would be fascinated by so sorry an impostor? F. C. H. TRUNDLE BEDS (3rd S. viii. 85.)-These, though perhaps less common than formerly, are by no means obsolete in England. I have seen them in Norfolk, very much corresponding with the description of UNEDA. I have admired them as ingenious and useful contrivances, and recommended the adoption of them in poor families straitened for room in their chambers. They are rolled under the regular bedsteads in the day time; and so leave more space in the room, and greater facility for moving about and working. F. C. H. TOASTS (3rd S. viii. 74.)-"Breeks and Brochan (brose)," is, I am afraid, one of the many inaccuracies which slightly detract from the value of Dean Ramsay's delightful brochure. In the above form the meaning could only be something similar to the more modern toast "A clean shirt and a guinea," but it wants terseness and point. The correct version undoubtedly is, "Breeks and Breacan," i. e. Breeches and Plaids, Lowlands and Highlands. The following toast, which I have heard frequently given at cattle-show dinners in the Southern Highlands, does not, to my recollection, occur in the Dean's collection: "Green hills and waters blue, Grey plaids and tarry woo.' At an agricultural dinner: : "GRÆCUM EST, NON LEGITUR" (3rd S. viii. 30.) The following anecdote will show, if not the origin of this saying, at least an occasion when it was popularly used. The story is taken from Vita et Martyrium Edmundi Campiani Martyris Angli e Societate Jesu, Auctore R. P. Paulo Bombino. Antverpiæ, 1618. Campian was the first Jesuit who suffered death in England. In the year 1580 he was a prisoner in the Tower, awaiting his trial on the capital charge of being a Jesuit. Here he engaged in a public dispute on religion with Nowell, Day, and a large circle of ministers. One quoted a passage from the Greek Testament, and handed the book to Campian; who, after a glance, laid it aside. Convinced that their adversary had betrayed his ignorance, the ministers taunted him with "tritum in nostram inscitiam proverbium: "Græcum est, non legitur."" At a later stage of the dispute, Campian was able to show that he had learned something of Greek; and that the slight attention he gave the volume was attributable, not to ignorance but familiarity. S. J. H. MARKET HARBOROUGH (3rd S. vii. 441; viii. 59.)-In ancient documents and letters patent in my possession, relating to the united manors of Great Bowden and Market Harborough, and probably submitted to Mr. Nichols when writing their history, the name is spelt Herberbur', Harberbur', Haverberg, Haverbrowe, and Harborough. Mr. Nichols proves the title of Harborough to Roman antiquity, but I am disinclined to adopt the conjecture of MR. J. C. HAHN. An inspection of the early deeds and letters patent will be readily afforded to CLARICE. H. M. VANE. 74, Eaton Place, S.W. THOMAS DINELEY (3rd S. viii. 45.) - My satisfaction with MR. NICHOLS's interesting communication is mingled with regret that the Notitia Cambro-Britannica is for private circulation only. It is probable that some to whom, like myself, the work would be useful, will have no means of obtaining a copy. The following remarks made fourteen years since, with reference to another work printed for private circulation, are apposite : - "We had thought that the rage for exclusive printing had gone by, and that books produced at so large an expense as this work appears to have been, would no longer owe their principal value to such adventitious causes as have rendered even the most contemptible works objects of interest to those who prefer that which is scarce to that which is intrinsically good. This volume is of too much interest not to demand a much wider circulation."—Art Journal, 1851, p. 183. I cannot forget that MR. NICHOLS has himself once offended in this kind. His Literary Remains of Edward VI. is a valuable and important work, public generally, for it is indispensable to the which ought to have been made accessible to the historical student. S. Y. R. BEN JONSON (3rd S. viii. 27.)-A communication from your correspondent ERIC as above, states that he has reluctantly come to the conclusion that "Johnson" is the correct spelling of the poet's name; and that he has arrived at it from an inspection of a collection of The Masques, printed in 1617 and 1621, published in the author's lifetime, and some other works of his published after his death, in which the h appears. Now we know that in those days orthography, especially of proper names, was not much attended to; and that a person often wrote his own name differently. But I have in my possession an edition of the poet's Works, published by himself in 1616, soon after his appointment as laureat, and which I believe is the first collected edition of his works. In the title-page the name is without the h. In the six laudatory addresses to him by others, which immediately follow the title-page, the h is omitted from his name. In the dedications by the author himself, of his plays and poems, to Mr. Camden, The Inns of Court, The Court, Mr. Richard Martin, Lord Aubigny, The Universities, Sir Francis Stuart, Lady Wroth, and two to the Earl of Pembroke (ten altogether); the name representing his signature is also without the h. These facts, coupled with the almost universal spelling of the name up to this day without the h, may induce ERIC to alter his opinion. It may not be uninteresting to add, that to each of the plays is given a list of "The principal Comedians;" in two of which, namely, Every Man in his Humour and Sejanus, the name "Will Shakespeare" appears. Exeter. DRACO. OBJECTIVE (3rd S. vii. 474; viii. 16.). That what is termed the German idea of objectivity was known in England before the time of Coleridge, is clearly shown by a passage from Watts's Logick, quoted in Johnson's Dictionary under the word OBJECTIVE": "Certainty, according to the schools, is distinguished into objective and subjective. Objective certainty is when the proposition is certainly true of itself: and subjective, when we are certain of the truth of it. The one is in things, the other in our minds." The first edition of Watts's Logick appeared, I believe, in 1725. MELETES. JOHNSONIANA: 66 SOLUTION OF CONTINUITY" (3rd S. vii. 6, 42.) The expression, "solution of continuity," is found in The Questyonary of Cyrurgyens, translated from the French by Robert Copland, and printed in 1541: : "The solucyons of continuyte be more daungerous in the lyver than in the mylt."-Sig. I. iij. recto. It was a recognised English phrase in Bacon's time, and is used by him in his third Essay. W. ALDIS WRIGHT. deficiency? Upon these points the histories referred to by MR. WALCOTT do not give any satisfactory information. MELETES. 66 KAR, KER, COR (3rd S. vii. 336; viii. 55.)—The origin of this root is traced under the word Tzar, in N. & Q." (1st S. viii. 226); and I am inclined to think correctly, as I have not seen it controverted. T. J. BUCKTON. "EXTREMES MEET (3rd S. viii. 29, 76.)—Does not the following passage in Euripides contain an exactly synonymous expression to this short but pithy proverb, with one illustration out of many in the moral world, of extremes meeting? Hecuba, v. 846, where the Chorus give utterance to these sentiments: δεινόν γε, θνητοῖς ὡς ἅπαντα συμπίτνει, A. H. K. C. L. THE OLD MAIDS' SONG (3rd S. viii. 68.)—I have been haunted for years with the tune and such scraps of this notable ballad as I can recollect. I subjoin them, and should be as much pleased as your correspondent if any of your readers could supply the missing lines. I believe those which I have written down are correct as far as they go: "Threescore and ten of us, poor old maidens! Threescore and ten of us, poor old maidens! Threescore and ten of us, Without a penny in our purse, Lame and blind, and what is worse, "We are of the Danish crew, poor old maidens ! We are old and ugly too, "We petitioned George the Third, poor old maidens! A correspondent, who happily, is "NOT ONE OF THE OLD MAIDS," has favoured us with a different version of this mournful overture: "Threescore and ten of us, Poor old maids! "We'll petition George the Third, We'll petition George the Third, "We all on crutches came, We all on crutches came, For some were blind and all were lame, Poor old maids. "George the Third unto them said, Poor old maids George the Third unto them said - "And when we turned to come away, And when we turned to come away, Truth obliges me to say that the last two words are altered from the original, as I used to hear it when I was a child. It is thought those now given are better suited to the propriety of the existing "Old Maids of Leamington." CUDDY (3rd S. vii. 53.)—The similarity may be noted between this and the Hindustani word for W. T. M. an ass, guddha. totle (Morals, bk. i.; Politics, bk. v.); is quoted by Plutarch from Sophocles; by Suidas from one Marinus; and by Lucian is attributed to Hesiod. Thus we step back thrice "four hundred years before Ausonius." (See Erasmus.) A. CHALLSTETH. 1, Verulam Buildings, Gray's Inn. Lucian twice gives this proverb in substance, in his "Dream, or Life," as 'Apxù dé toi qulov navtós, and again, in nearly the same words, in "Hermotimus," where he shows his belief in its then very ancient Greek origin, by ascribing it to Hesiod. His correctness, however, in thus ascribing it is questioned in an elaborate note upon the former instance of his use of the proverb (Hemsterhuis and Gesner's Lucian, p. 5, edit. 1743, Amsterd.). The note, however, seems to overlook the circumstance that the probability might be perhaps greater that Hesiod had in fact given this proverb, but in some work of his, in Lucian's time extant, since lost, than that Lucian should have misquoted some other proverb in Hesiod, or else mistaken it for this one. At all events, the note referred to seems, from its references, to establish a very respectable Greek antiquity for the proverb. Among others quoted, Polybius, who lived before Horace, and upwards of two thousand years ago, speaks of it as used by the ancients, οἱ μὲν γὰρ ἀρχαῖοι τὴν ἀρχὴν ἥμισυ τοῦ παντὸς εἶναι φάσκοντες. J. KYNASTON EDWARDS. SIR SAMUEL CLARKE (3rd S. viii. 28, 60.) —I have examined his will in the Prerogative Court without obtaining the information required, and from further researches I am doubtful if he is the Sir Samuel Clarke wanted, as I find that about 1675 the marriage with a daughter of Sir Samuel Clarke that I am endeavouring to trace took place, therefore it could not have been one of the family of Sir Samuel Clarke knighted in 1712. Can any one assist me in ascertaining what other merchant of this name resided in London in 1675. He was what was formerly termed a Turkey merchant. GEORGE PRIDEAUX. Lusan House, Highbury New Park. KILPECK (3rd S. vii. 476; viii. 39.) — I am obliged to MR. ALLEN for the information he has been so kind as to give in answer to my inquiry about Kilpeck. But when he speaks of the Pye family as having possessed the castle from the time of Henry I., I presume he only means that the Pyes were lineally descended from the original owners. If so descended, it must have been through a female line, and I would therefore beg to inquire what was the alliance that first brought the property into the Pye family. P. S. Č. ST. AUGUSTINE'S MONSTERS (3rd S. viii. 99.) — This is an old story, palmed upon St. Augustine in certain old books, such as the famous Liber |