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A GLOSSARY; or, Collection of Words, Phrases,

Customs, Proverbs, &c. Illustrating the Works of English Authors, particularly SHAKESPEARE and his Contemporaries. By ROBERT NARES, Archdeacon of Stafford, &c. with considerable Additions, both of Words and Examples, by JAMES A New Edition, O. HALLIWELL, F.R.S. and THOMAS WRIGHT, M.A., F.S. A. &c. The Glossary of Archdeacon Nares is by far the best and most useful work we possess for explaining and illustrating the obsolete language and the customs and manners of the sixteenth and seventeenth centuries, and it is quite indispensable for the readers of the literature of the Elizabethan period. The additional words and examples are distinguished from those in the original text by a t prefixed to each. The work contains between FIVE AND SIX THOUSAND additional examples, the result of original research, not merely supplementary to Nares, but to all other compilations of the kind.

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CONTENTS.-N° 291.

NOTES:- Last on Shakespeare, 61 - Verna: Creole, &c., 62 "Empress of Morocco: Macbeth" Travesty, 63Lucretius - French Notions of England "Improvement" Thomas Moore - The Caribs - EmigrantsMottoes of Companies, 64. QUERIES:- -"Blessing of the Bells"-John Bruen, of Bruen Stapleford, Cheshire Cap-a-pie-Chinese Newspaper-Classic-Marquis D'Aytone-"Excelsior"-Font Inscription Rev. J. Guthrie-Hasty Pudding-Immersion in Holy Baptism - Immortal Brutes-Nomasticon Cistersiense"- Assumption of a Mother's Name Surname of " Parr"- Quotations-Smith Queries- Arms of Sound, &c. - Stuart of the Scotch Guard-Titles of the Judges - Dudley Woodbridge, Esq., 65. QUERIES WITH ANSWERS: - Sir John Bourchier - General Oglethorpe - Richard Duke 1 The Blacas Collection, 68. REPLIES:-John Hamilton of Bothwellhaugh, Assassin of the Regent Moray, 69-" Morning's Pride," 70-English Cardinals, 71 - The Puzzle of the late Archbishop of Dublin, Ib. Poetic Pains, 72-Stool Ball - Junius, Burke, &c. - "When Adam delved," &c. - Funeral Custom Bishop Nicolson-Curfew at Newcastle-on-Tyne - Punning Mottoes - "Form"-Thatched Churches Query on Pope-Endeavour" as a Reflective Verb But with the Morning," &c. - Penny-"Conspicuous from its Absence" - Palindromics - Stansfield: Smyth-Old Seals on Charters, &c.- Lines on the Eucharist - Bishop Giffard, &c.- Sir John Oldmixon-Charles Lamb's "Elia" -Translations- Manna - Louis XVI. on the Scaffold Letter from Kimbolton Library Nautical SayingOysters with an R in the Month-Cottle Family, &c., 73. Notes on Books, &c.

Notes.

LAST ON SHAKESPEARE.

So I entitle these the last remarks that I shall make on Shakespeare's plays. If any one will add them to my Shakespeare-Expositor, he will then have the whole of my labours in the correction and elucidation of those immortal dramas. "To me she speaks; she moves me for her theme." Comedy of Errors, Act II. Sc. 2. As "moves" makes very bad sense here, we might read uses, or some similar word; but I am strongly persuaded that the poet's word was loves, and, I and m being adjacent letters, the compositor, by a most common mistake, took up the latterwe have, I think, in our poet two instances of this confusion of even t and w-and as "moves" was a good English word, the error was not detected. She loves me for her theme!"-i. e. she pretends to love me, to have a theme to expatiate on, as she has been doing-pronounced in a tone of utter astonishment, must have had a most comic effect. In my Edition I heedlessly followed Singer in reading, with Collier's folio, means for "moves" here, and draws for "drives" three lines lower down. This speech of Antipholus, and another towards the end, should be marked Aside. In three of the following speeches we should give Adr. not Luc., for Luciana is throughout of a

sweet, gentle character. The last speech is justly given to her. By the way, in King John, Act II. Sc. 1, the first and third speeches should be headed K. Philip, and not Lewis.

"Me shall you find ready and willing."

Taming of the Shrew, Act ÏV. Sc. 4.

A word or more has evidently been lost at the end. In my Edition and Expositor I supplied both; but I find that elsewhere this word always precedes those with which it is joined. The lost words may then have been as you, or at once, or something similar.

"The fairest grant is the necessity."

Much Ado about Nothing, Act I. Sc. 1. Those who have written notes on this did not understand it, and perhaps the same may be true of those who are silent. Yet the meaning is plain, though peculiarly expressed. It is this: the fairest, most gracious grant of your suit by Hero is the necessity, the thing needed, what we want. It is not improbable that the poet wrote "is thy necessity," which would make the passage less enigmatic.

"The luce is the fresh fish; the salt fish is an old coat."-Merry Wives of Windsor, Act I. Sc. 1.

Shallow had asserted that "the dozen white luces" was an old coat, and Sir Hugh had misunderstood him. He here corrects him, telling him that the luce was the fresh-water fish of that name. He then adds, "the salt fish is an old coat too," if he was alluding, as is supposed, to the arms of the Fishmongers' Company, "Azure, two sea-luces in saltire with coronets over their mouths"; or he may have only reiterated his assertion, saying "the same fish is an old coat," and the printer, misled by "fresh fish," may have made it "salt fish."

"That no dram of a scruple, no scruple of a scruple." Twelfth Night, Act III. Sc. 4. Whether the critics have understood this or not, I cannot say, as I have never seen a note on it; but, to my shame, I must honestly confess that I myself have misunderstood it, in the strangest manner. I could of course explain how I came to do so, but "it skills not." To understand it, we must take the first and last "scruple" in the moral sense, the second as the weight, the third part of the dram. I owe this simple and natural explanation to J. J. A. Boase, Esq., of Alverton Vean, Penzance, the best Shakespearian I have ever known.

"And to thrill and shake,
Even at the crying of your nation's crow,
Thinking his voice an armed Englishman."
King John, Act V. Sc. 2.

Here again we have nonsense; for no one has ever heard of the crow as peculiar to France. Collier's folio read crowing and cock for "crying"

8

and "crow," but that is poor. I believe the real word to have been "crower," a word no doubt of the poet's coinage, like many others, but in strict accordance with analogy. The Bastard, we may see, has been using the most insulting and disparaging language to the French, and what was more natural than that he should contemptuously term the bird that was regarded as their emblem the "crower?" We may observe that s has been effaced at the end of the following line, and so r or er may have been effaced here. The play, we may recollect, had been lying for nearly thirty years in the play-house. "This explanation, says Mr. Boase, "is very happy, and so simple that it would seem marvellous it should not have been thought of before, were it not that we find the moral of the old story of Columbus and the egg being constantly repeated. The line in which 'crow' occurs, and the next, afford strong support to the theory of effacement."

39

The following corrections seem better than those in my Edition and Expositor: —

"The match is made and all is done. So, Sir, Your son shall have my daughter with consent." Taming of the Shrew, Act IV. Sc. 4.

In Coriol. i. 10, when proposing the substitution of household hearth for "brother's guard," I quite forgot to notice that that very phrase occurs in Milton's Samson Agonistes, v. 566, in my note on which place I had actually made the correction in Shakespeare.

My Expositor, in fine, is of course far from faultless, and perhaps il sent la vieillesse. I certainly regard it as being inferior to my "Comment on the Poems of Milton," but I believe it to be nearly indispensable to the student of Shakespeare. As to the critical notices which I have seen of itif they are so to be termed-with a few exceptions, they show nothing but ignorance and malevolence. Few indeed are qualified to give an opinion on critical emendations.

THOS. KEIGHTLEY.

now applied to "natives" of the Tropics, men of whatever race, animals &c., provided they be "native." That it once, however, implied a mixture of blood is clear from Acosta's Hist. de las Indias, lib. iv. cap. 25 (p. 257, ed. Madrid, 1608):

"Esta fruta [he is speaking of the chicozapote], dezian algunos Criollos (como alla llama á los nacidos de Españoles y Indias) que excedia á todas las frutas de España." It is thus defined in the Diccionario por la Real Academia Española (ed. 1729): —

"El que nace en Indias de Padres Españoles, u de otra nacion que no sean Indios. Es voz inventada de los Españoles conquistadores de las Indias y comunicada por ellos en España. Lat. Patria Indus, genere Hispanus." The invention of the word by the Spanish conquerors is open to doubt. Rather it seems to have come from the mother country, and to have been contemptuously applied either to hybrids, or to such as, retaining purity of blood, yet were held degenerate, whether from skyey or from other influences. It is connected with criar (to create, nurse, suckle). That its application is depreciatory is indicated by the usage of a kindred dialect, the Portuguese. I find therein criolo, a home-born slave"; crioula, "a bond-woman that is born in the house"; galhinna crioula, "a hen that is born in one's house.' I find in Spanish, as well as in Portuguese, criado (criada), “a male (female) servant.'

=

66

Get obviously gotten, begotten. Chaucer's "get and borne" is aptly quoted by Jamieson. This word (originally applicable to any child) appears now not to be used save contemptuously. See Scott, "Bride of Lammermoor," vol. xiv. p. 67 (Waverley Novels, ed. 1829-1834) : "And where's that ill-deedy gett?" Ross Helenore,* p. 146 (ed. Edinb. 1866): "They've gotten a geet that stills no night nor day.' Comp. also brat, etymologically connected, I fancy, with breed. Dam, a mere corruption of dame ("He that yhad a maide to dame" [Chauc.] “Plowman's Tale," 3291; "Soche wordes as we lerneden of our dames tonge," Prol. "Test. of Love"), has been treated with similar irreverence. We all remember Shakespeare's

The brat is none of mine;

Hence with it; and, together with the dam,
Commit them to the fire."

(Grandam perhaps is still respectable.)

Bairn obviously born. Am I right in thinking

BAIRN.

The connection of the two senses of verna, (1) "a native," (2) 66 a home-born slave," may have been-but to the best of my knowledge has not been - elucidated. I think the modern words given above worthy of comparison.

Creole (Criollo) is rightly interpreted by a correspondent of "N. & Q." 1" S. viii. 504. It is

gradually dwindling into a contemptuous designation? I am a Yorkshireman, and used some fifty years ago to hear "t' squire bairn" (the

* A recent perusal of this work-deserving neglect at the hand of neither poet nor provincialisms-seeking philologer has "gotten this geet," whether stillborn or, if not, worthy of your undertaking to be its sponsor will appear hereafter.

There was printed at London, "For Simon Neal, at the sign of the Three Pidgeons in Bedford Street, in Covent Garden, 1674, 4to, the Empress of Morocco, a farce acted by his Majesties Servants." A portrait is prefixed of the imperial lady.

The Biographia Dramatica gives a very brief notice of this singular specimen of a burlesque drama, which was intended to throw ridicule on Settle's Emperor of Morocco, then a popular drama, and which was so much esteemed that it was originally published with engravings of the scenes. The travesty is clever, but coarse, and has been - attributed to Duffet the actor.

But the most remarkable portion of the farce is the Epilogue, which is denominated

"A new fancy, after the old and most surprising way of MACBETH, perform'd with new and costly MACHINES, which were invented and managed by the most ingenious operator, Mr. Henry Wright, P. G. Q." Heccate and Three Witches, "according to the famous mode of Macbeth," commence "the most renowned and melodious Song of John Dory, being heard as it were in the Air sung in parts by Spirits, to raise the expectation, and charm the audience with thoughts sublime, and worthy of that Heroick Scene which follows." Then the scene opens-"Thunder and lightning is discovered, not behind painted Tiffany to blind and amuse the senses, but openly, by the most excellent way of Mustard-bowl and Salt-Peter." Three Witches fly over the pit, riding upon besoms. Then Heccate descends over the stage "in a glorious Charriott adorn'd with pictures of Hell and Devils, and made of a large Wicker Basket."

A very strange colloquy follows, wherein the witches inform their mistress of all the mischief they have done, and receive appropriate rewards. Then

"Enter Two Spirits with brandy burning, which they drink, whilst Heccate and the Witches sing

To the Tune of A Boat, a Boat, &c. Hec. A health, a health, to Mother C[reswell], From Moor-fields fled to Mill-bank Castle; [Where] She puts off a rotten new-rigg'd Vessel," and so on, the remaining verses being of a similar description, relating to several ladies who follow the profession of Mrs. Creswell.

Heccate next exclaims"Bank-side Maulkin thrice has mew'd! No matter: If puss of t'other house will scratch-have at her! T'appease your spirits, and keep our farce from harm, Of strong ingredients we have powerful charm."

She then gives an enumeration of charms for the critics, not precisely adapted for present republication. A voice is heard exclaiming, "Huff! no more!" a "hellish noise" being heard within. Then Hecate is called; thunder and lightning follow. While the witches are flying up she sings

"The goose and the gander went over the green, They flew in the corn that they could not be seen. Chorus-They flew," &c.

A trio by the three witches concludes —

We learn from Pepys that Shakspere's tragedy was extremely popular, and that he greatly enjoyed the music and decorations." Was Lock's music then used? Not being at all versed in the musical history of the period, I should be happy to be informed on the subject. The acting of Betterton was admirable; and one time when, from the illness of that great artist, his place was supplied by an inferior performer of the name of Young, Pepys was so much horrified that he left the theatre, and was followed by his lady, who was equally disgusted.

The tune of "A boat, a boat," is probably the popular catch yet occasionally sung. Is not this farce the earliest instance of a travesty of Shakspere a species of drama peculiarly adapted to the present times? None of the Shakspere travesties have much fun about them: Macbeth travesty is really abominable; Hamlet travesty is perhaps the best of the lot. The Rehearsal by the Duke of Buckingham, and The Critic by Sheridan, are full of wit and point, but are intended to turn into ridicule certain classes of writers, and not to travesty any particular drama. The Tom Thumb of Fielding, the Chrononhotonthologos and Dragon of Wantley of Carey, have never been surpassed by any subsequent production of a similar J. M. description.

[* Pepys' notice was on Oct. 16, 1667. He first saw it acted Nov. 5, 1664.-ED.]