Notes and Queries, Number 44, August 31, 1850

I would not pretend to determine whether the word were taken from the High German or the Dutch; but Mr. Singer's remark, that our language has derived scarcely anything from the former, brings back the question to the point from which I originally started. That there was a political and commercial connexion between the two countries, I suppose there can be no doubt and such, I imagine, never existed without leaving its marks on languages so near akin.

Taking up Bailey's Dictionary by accident a day or two ago, I turned to the word, which I there find as derived from Newes, Teut.; Bailey using the term Teutonic for German.

I think I shall express the feelings of the majority of your readers in saying that nothing could be more acceptable or valuable to the consideration of any etymological question than the remarks of Mr. Singer.

Samuel Hickson.

I have read with much interest the respective theories of the derivation of news, and it seems to me that Mr. Hickson's opinion must give way to an excellent authority in questions of this kind, Dr. Latham, who says,

Some say, this news IS good in which case the word is singular. More rarely we find the expression, these news ARE good; in which case the word "news" is plural. In the word "news", the -s (unlike the -s in alms and riches) is no part of the original singular, but the sign of the plural, like the -s in "trees." Notwithstanding this, we cannot subtract the s, and say "new," in the same way that we can form "tree" from "trees." Hence the word "news" is, in respect to its original form, plural; in respect to its meaning, either singular or plural, most frequently the former.—Eng. Grammar, p. 62.

The above extract will probably suffice to show the true state of the case, and for information on similar points I would refer your readers to the work from which the above extract is taken, and also to that on The English Language, by the same author.

T. C.

REPLIES TO MINOR QUERIES

Swords worn in public (Vol. i., p. 415.; vol. ii. p. 110.).—I am surprised that the curious topic suggested by the Query of J.D.A. has not been more satisfactorily answered. Wedsecuarf's reply (Vol. ii., p. 110.) is short, and not quite exact. He says that "Swords ceased to be worn as an article of dress through the influence of Beau Nash, and were consequently first out of fashion at Bath;" and he quotes the authority of Sir Lucius O'Trigger as to "wearing no swords there." Now, it is, I believe, true that Nash endeavoured to discountenance the wearing swords at Bath; but it is certain that they were commonly worn twenty or thirty years later.

Sir Lucius O'Trigger talks of Bath in 1774, near twenty years after Nash's reign, and, even at that time, only says that swords were "not worn there"—implying that they were worn elsewhere; and we know that Sheridan's own duel at Bath was a rencontre, he and his adversary, Mathews, both wearing swords. I remember my father's swords hung up in his dressing-room, and his telling me that he had worn a sword, even in the streets, so late as about 1779 or 1780. In a set of characteristic sketches of eminent persons about the year 1782, several wear swords; and one or two members of the House of Commons, evidently represented in the attitude of speaking, have swords. I have seen a picture of the Mall in St. James's Park, of about that date, in which all the men have swords.

I suspect they began to go out of common use about 1770 and were nearly left off in ordinary life in 1780; but were still occasionally worn, both in public and private, till the French Revolution, when they totally went out, except in court dress.

If any of your correspondents who has access to the Museum would look through the prints representing out-of-doors life, from Hogarth to Gilray, he would probably be able to furnish you with some precise and amusing details on this not unimportant point in the history of manners.

C.

Quarles' Pension (Vol. ii., p. 171.).—There should have been added to the reference there given, viz. "Vol. i., p. 201." (at which place there is no question as to Quarles' pension), another to Vol. i., p. 245., where that question is raised. I think this worth noting, as "Quarles" does not appear in the Index, and the imperfect reference might lead inquirers astray. It seems very curious that the inquiry as to the precise meaning of Pope's couplet has as yet received no explanation.

C.

Franz von Sickingen (Vol. i., p. 131.).—I regret that I cannot resolve the doubt of H.J.H. respecting Albert Durer's allegorical print of The Knight, Death, and the Devil, of which I have only what I presume is a copy or retouched plate, bearing the date 1564 on the tablet in the lower left-hand corner, where I suppose the mark of Albert Durer is placed in the original.

I should, however, much doubt its being intended as a portrait of Sickingen, and I can trace no resemblance to the medal given by Luckius. I believe the conjecture originated with Bartsch, in his Peintre Graveur, vol. vii. p. 107. Schoeber, in his Life of Durer, p. 87., supposes that it is an allegory of the nature of a soldier's life.

It was this print that inspired La Motte Fouqué with the idea of his Sintram as he thus informs us in the postscript to that singularly romantic tale:

"Some years since there lay among my birth-day presents a beautiful engraving of Albert Durer. A harnessed knight, with an oldish countenance, is riding upon his high steed, attended by his dog, through a fearful valley, where fragments of rock and roots of trees distort themselves into loathsome forms; and poisonous weeds rankle along the ground. Evil vermin are creeping along through them. Beside him Death is riding on a wasted pony; from behind the form of a devil stretches over its clawed arm toward him. Both horse and dog look strangely, as it were infected by the hideous objects that surround them; but the knight rides quietly along his way, and bears upon the tip of his lance a lizard that he has already speared. A castle, with its rich friendly battlements, looks over from afar, whereat the desolateness of the valley penetrates yet deeper into the soul. The friend who gave me this print added a letter, with a request that I would explain the mysterious forms by a ballad.... I bear the image with me in peace and in war, until it has now spun itself out into a little romance."

S.W. Singer.

Mickleham Aug. 13. 1850.

"Noli me tangere" (Vol. ii., p. 153.).—B.R. is informed, that one of the finest paintings on this subject is the altar-piece in All Souls College Chapel, Oxford. It is the production of Raphael Mengs, and was purchased for the price of three hundred guineas of Sir James Thornhill, who painted the figure of the founder over the altar, the ceiling, and the figures between the windows. There may be other paintings by earlier masters on so interesting subject, but none can surpass this of Raphael Mengs in the truthfulness of what he has here delineated. The exact size of the picture I do not recollect, but it cannot be less than ten feet high.

There is a beautiful engraving of it by Sherwin.

J.M.G.

Worcester.

Dr. Bowring's Translations (Vol. ii. p. 152.).—Besides the anthologies mentioned by Jarltzberg, Dr. Bowring has published Poets of the Magyars, 8vo. London, 1830; Specimens of Polish Poets, 1827; Servian popular Poetry, 1827; and a Cheskian Anthology, 1832.

H.H.W.

"Speak the Tongue that Shakspeare spoke" (Vol. ii., p. 135.).—The lines about which X. asks, are

"We must be free or die, who speak the tongueThat Shakspeare spake; the faith and morals holdWhich Milton held," &c.

They are in one of Wordsworth's glorious "Sonnets to Liberty" (the sixteenth), and belong to us, and not to the New-Englanders.

G.N.

Countess of Desmond (Vol. ii., pp. 153. 186.).—In reply to K., I have an impression that Horace Walpole has a kind of dissertation on the Old Countess of Desmond, to whom his attention was directed by her being said to have danced with Richard III. Having no books at hand, I cannot speak positively; but if K. turns to Walpole's Works, he will see whether my memory is correct. I myself once looked, many years ago, into the subject, and satisfied myself that the great age attributed to any Countess of Desmond must be a fable; and that the portrait of her (I think, at Windsor) was so gross an imposition as to be really that of an old man. I made a "Note"—indeed many—of the circumstances which led me to this conclusion; but they are at this moment inaccessible to me. I venture however, now that the question is revived, to offer these vague suggestions. By and by, if the subject be not exhausted, I shall endeavour to find my "Notes," and communicate them to you. I wonder the absurdity of the kind of death imputed to the imaginary lady did not reflect back a corresponding incredulity as to the length of her life.

C.

Yorkshire Dales (Vol. ii., p. 154.).—No guide or description has been published that would serve as a handbook to the dales in the West Riding of Yorkshire between Lancashire and Westmoreland. Should A PEDESTRIAN wish to explore the beauties of Teesdale he will find a useful handbook in a little work, published anonymously in 1813, called A Tour in Teesdale, including Rokeby and its Environs. The author was Richard Garland, of Hull, who died several years ago.

Δ.

The Yorkshire Dales (Vol. ii., p. 154.).—In answer to a recent inquiry, I beg to state that a guide to the above dales is in preparation. It will be edited by your humble servant, illustrated by a well-known gentleman, and published by Mr. Effingham Wilson.

J.H. DIXON.

Tollington Villa, Hornsey.

[We are glad to hear that such a Guide is preparing by Mr. Dixon, whose knowledge of the locality peculiarly fits him for the work he has undertaken.]

Sir Thomas Herbert's Memoirs (Vol. ii., p. 140.).—The information MR. GATTY wishes for, he will find in Dr. Bliss's edition of the Athenæ, vol. iv. p. 18. He will perform an acceptable service to historical inquirers, if he will collate the printed memoir with the MS. in the possession of his friend, and give to the world such passages, if any, as have not been hitherto published.

Δ.

Alarum (Vol. ii., pp. 151. 183.).—There can be no doubt that the word alarm (originally French) comes from the warning war-cry à l'arme. So all the French philologists agree; and the modern variance of aux armes does not invalidate so plain an etymology. When CH. admits that there can be no doubt that alarm and alarum are identical, it seems to one that cadit questio,—that all his doubts and queries are answered. I will add, however, that it appears that in the words' original sense of an awakening cry, Shakspeare generally, if not always, spelled it alarum. Thus—

"Ring the alarum bell!"—Macbeth."—Murder"Alarum'd by his sentinel the wolf."Macbeth."When she speaks, is it not an alarum to love?"Othello."But when he saw my best-alarum'd spirits rousedto the encounter."—Lear.

In all these cases alarum means incitement, not alarm in the secondary or metaphorical sense of the word, which has now become the ordinary one. In truth, the meanings, though of identical origin, have become almost contradictions: for instance, in the passage from Othello, an "alarum to love"—incitement to love—is nearly the reverse of what an "alarm to love" would be taken to mean.

C.

Practice of Scalping among the Scythians, &c. (Vol. ii., p. 141.).—Your correspondent T.J. will find in Livy, x. 26., that the practice of scalping existed among the Kelts.

"Nec ante ad consules … famam ejus cladis perlatam, quam in conspectu fuere Gallorum equites pectoribus equorurn suspensa gestantes capita, et lanceis infixa ovantesque moris sui carmine."

W.B.D.

Gospel Tree (Vol. ii., p. 56.).—In reply to W.H.B., I may mention that there is a "Gospel Tree" near Leamington. I do not know of one so called in Gloucestershire.

GRIFFIN.

Martinet (Vol. ii., p. 118.).—There is no doubt the term martinet is derived from the general officer M. de Martinet indicated by MR. C. FORBES, and who was, as Voltaire states, celebrated for having restored and improved the discipline and tactics of the French army; whence very strict officers came to be called martinets: but is it also from this restorer of discipline that the name of what we call cat-o'-nine-tails is in French martinet? This is rather an interesting Query, considering how severely our neighbours censure our use of that auxiliary to discipline.

C.

"Yote" or "Yeot" (Vol. ii., p. 89.).—You may inform B. that Yote or Yeot is only provincial pronunciation of Yate or Gate, a way or road. The channel made to conduct melted metal into the receptacle intended for it, is called a gate.

GRIFFIN.

Map of London (Vol. ii., p. 56.).—The map of London, temp. Edw. VI., in the Sutherland collection, has been recently engraved. It is of singular curiosity. I do not know the name of the publisher.

R.

Wood-carving, Snow Hill (Vol. ii., p. 134.).—The carving alluded to by A.C. is, I believe, of artificial stone, and represents Æsop attended by a child, to whom he appears to be narrating his fables. It is or rather was, a work of some merit, and is, as A.C. observes, "worth preserving;" but, alas! of this there is but little chance. The house in question (No. 41. Skinner Street), and also the one adjoining, have been tenantless for many years; they belong to two old ladies, who also own the two deserted houses at the corner of Stamford Street, Blackfriars Road. It is scarcely necessary to speak of the now somewhat picturesque condition of the houses alluded to in either locality, for the pitiably dilapidated condition of them all must have been matter of remark for many years past to any one at all acquainted with London. The house, 41. Skinner Street, is also worthy of remark from another circumstance. It was formerly occupied by William Godwin, the well-known author of Caleb Williams, Political Justice, &c. It was here he opened a bookseller's shop, and published his numerous juvenile works, under the assumed name of Edward Baldwin.

E.B. PRICE.

Waltheof (Vol. ii, p. 167.).—I believe that Waltheof (or Wallef, as he is always styled in Doomsday Book) never appeared at the court of William the Conqueror in the character of an envoy; but in 1067, little better than six months after the first landing of the Normans, we find him, in conjunction with Edgar Atheling and others, accompanying the Conqueror in his triumphal return to Normandy, as a hostage and guarantee for the quiescence of his countrymen. At this period, it is probable he might have first become acquainted with Judith; but this must rest on conjecture. At all events, we have the authority of William of Malmsbury for saying that Waltheof's marriage did not take place until the year 1070, soon after his reconciliation with the king on the banks of the Tees. Your correspondent errs in ascribing 1070 as the date of Waltheof's execution; the Saxon Chronicle distinctly states May 31st, 1076, as the date of his death; while the chronicle of Mailros, and Florence of Worcester, assign it to the preceding year: in which they are followed by Augustin Thierry. T.E.L.L. has also fallen into an error as to the cause of Waltheof's execution, which he states arose from his participation in a conspiracy at York. Now the crime for which he was accused, and condemned (on the evidence of his wife), was his inviting over the Danes to the invasion of England. This was the primary cause; although his being present at the celebrated marriage-feast at Norwich was doubtless a secondary one. According to Thierry, he left two children by Judith.

DAVID STEVENS.

Godalming.

The Dodo (Vol. i., pp. 261. 410.).—I have the pleasure to supply Mr. Strickland with the elucidation he desires in his Query 7., by referring to Hyde, Historia Religionis Vet. Persarum, p. 312.

"Et ut de Patre (Zoroastris) conveniunt, sic inter omnes convenit Matris ejus nomen fuisse Dôghdu, quod (liquescente gh ut in vocibus Anglicis, high, mighty, &c.) apud eos plerumque sonat Dôdu; nam sonus Gain in medio vocum fere evanescere solet. Hocque nomen innuit quasi foecundidate ea similis esset ejusdem nominis Gallinæ Indicæ, cujus Icon apud Herbertum in Itinerario extat sub nomine Dodo, cujus etiam exuviæ farctæ in Auditorio Anatomico Oxoniensi servantur. Reliqua ex Icone dignoscantur. Plurima parit ova, unde et commodum foecunditatis emblema."

T.J.

"Under the Rose" (Vol. i., p. 214.).—I find the three following derivations for this phrase in my note-book:—

I. "The expression, 'under the rose,' took its origin," says Jenoway, "from the wars between the Houses of York and Lancaster. The parties respectively swore by the red or the white rose, and these opposite emblems were displayed as the signs of two taverns; one of which was by the side of, and the other opposite to, the Parliament House in Old Palace Yard, Westminster. Here the retainers and servants of the noblemen attached to the Duke of York and Henry VI. used to meet. Here also, as disturbances were frequent, measures either of defence or annoyance were taken, and every transaction was said to be done 'under the rose;' by which expression the most profound secrecy was implied."

II. According to others, this term originated in the fable of Cupid giving the rose to Harpocrates, the god of silence, as a bribe to prevent him betraying the amours of Venus, and was hence adopted as the emblem of silence. The rose was for this reason frequently sculptured on the ceilings of drinking and feasting, rooms, as a warning to the guests that what was said in moments of conviviality should not be repeated; from which, what was intended to be kept secret was said to be held "under the rose."

III. Roses were consecrated as presents from the Pope. In 1526, they were placed over the goals of confessionals as the symbols of secrecy. Hence the origin of the phrase "Under the Rose."

JARLTZBERG.

Ergh, Er, or Argh.—Might not these words (queried by T.W., Vol. ii. p 22.) be corruptions of "burgh," aspirated wurgh, and the aspirate then dropped; or might not ark, argh, &c., be corruptions of "wark:" thus Southwark, commonly pronounced Southark? I merely offer this as a conjecture.

JARLTZBERG.

Royal Supporters (Vol. ii., p. 136.).—E.C. asks when and why the unicorn was introduced as one of the royal supporters. It was introduced by James VI. of Scotland when he ascended the throne of England, on account of the Scottish royal supporters being two unicorns rampant argent, crowned with imperial, and gorged with antique, crowns, with chains affixed to the latter passing between their forelegs and reflexed over their backs, unguled, armed, and crined, all or; the dexter one embracing and bearing up a banner of gold charged with the royal arms; the sinister, another banner azure, charged with the cross of St. Andrew, argent. Queen Elizabeth had used as supporters, dexter, a lion rampant gardant, crowned; and sinister, a dragon rampant, both or. She also used a lion ramp. gardant crowned, and a greyhound, both or. James adopted as supporters, dexter, a lion ramp. gardant, crowned with the imperial crown, or; sinister, an unicorn argent, armed, crined, unguled, gorged with a coronet composed of crosses patées, and fleurs-de-lis, a chain affixed thereto passing between its forelegs, and reflexed over the back, all or. These have been used as the royal supporters ever since their first adoption, with but one exception, and that is in the seal of the Exchequer, time of Charles I., where the supporters are an antelope and stag, both ducally collared and chained.

E.K.

The Frog and the Crow of Ennow.—In answer to M. (Vol. ii., p. 136.), I send you the edition of "the frog and the crow" which I have been familiar with since childhood. I can give you no history of it, save that it is tolerably well known in Lancashire, and that the point consists in giving a scream over the last "oh!" which invariably, if well done, elicits a start even in those who are familiar with the rhyme, and know what to expect.

The Frog and the Crow"There was a jolly fat frog lived in the river Swimmo,And there was a comely black crow lived on theriver Brimmo;Come on shore, come on shore, said the crow to thefrog, and then, oh;No, you'll bite me, no, you'll bite me, said the frogto the crow again, oh."But there is sweet music on yonder green hill, oh,And you shall be a dancer, a dancer in yellow,All in yellow, all in yellow, said the crow to the frog,and then, oh;Sir, I thank you, Sir, I thank you, said the frog tothe crow again, oh."Farewell, ye little fishes, that are in the river Swimmo,For I am going to be a dancer, a dancer in yellow;Oh, beware, Oh, beware, said the fish to the frogagain, oh;All in yellow, all in yellow, said the frog to the fish,and then, oh."The frog he came a-swimming, a-swimming, toland, oh,And the crow, he came a-hopping to lend him hishand, oh;Sir, I thank you; Sir, I thank you, said the frog tothe crow, and then, oh;Sir, you're welcome; Sir, you're welcome, said thecrow to the frog again, oh."But where is the music on yonder green hill, oh;And where are the dancers, the dancers in yellow,All in yellow, all in yellow? said the frog to thecrow, and then, oh;Sir, they're here; Sir, they're here, said the crow tothe frog, and eat him all up, Oh," (screamed.)

The moral is obvious, and the diction too recent for the song to have any great antiquity. I have never seen it in print.

T.I.

MISCELLANEOUS

NOTES ON BOOKS, SALES, CATALOGUES, ETC

It would, we think, be extremely difficult to find any subject upon which persons, otherwise well informed, were so entirely ignorant, until the appearance of Mrs. Jameson's Sacred and Legendary Art, as the one upon which that lady treated in those ably written and beautifully illustrated volumes. It seemed as if the Act of Henry VIII., which declared that the name and remembrance of Thomas à Becket should be erased from all documents, had had the effect of obliterating from all memories not only the often puerile, often offensive stories of the legend-mongers, but, with them, all remembrance of those holy men of old, whose piety towards God, and love for their fellow men, furnished example for all succeeding ages. To readers of all classes Mrs. Jameson opened up a new and most interesting subject: to lovers of Art almost a new world, from the light which her learning and criticism threw upon its master-pieces. What wonder is it, then, that the success of her Sacred and Legendary Art, confined as the two volumes necessarily were to legends of angels and archangels, evangelists and apostles, the Fathers, the Magdalene, the patron saints, the virgin patronesses, the martyrs, bishops and hermits, and the patron saints of christendom, should have led Mrs. Jameson to continue her labours? The first part of such continuation is now before us, under the title of Legends of the Monastic Orders: and most fitting it is that the three great divisions of the regular ecclesiastics should be thus commemorated, since of them Mrs. Jameson aptly remarks, that while each had a distinct vocation, there was one vocation common to all:—"The Benedictine Monks instituted schools of learning; the Augustines built noble cathedrals; the Mendicant Orders founded hospitals: all became patrons of the Fine Arts on such a scale of munificence, that the protection of the most renowned princes has been mean and insignificant in comparison." Nor is this their only claim; for the earliest artists of the Middle Ages were monks of the Benedictine Order. "As architects, as glass painters, as mosaic workers, as carvers in wood and metal, they were the precursors of all that has since been achieved in Christian Art: and if so few of these admirable and gifted men are known to us individually and by name, it is because they worked for the honour of God and their community, not for profit, nor for reputation." The merits of Mrs. Jameson's first series were universally acknowledged. The present volume may claim as high a meed of praise. If possible, it exceeds its predecessors in literary interest, and in the beauty of the etchings and woodcuts which accompany it. As a handbook to the traveller who wanders through the treasuries of Art, it will be indispensable; while to those who are destined not to leave their homes it will be invaluable, for the light it throws upon the social condition of Europe in those ages in which the monastic orders had their origin. It is a volume highly suggestive both of Notes and Queries, and in such forms we shall take occasion to return to it.