Notes and Queries, Number 78, April 26, 1851

In conclusion, it may be as well to mention, that, prior to the establishment of the "Museum Minervæ," a committee had been appointed in the House of Lords, consisting of the Duke of Buckingham and others, for taking into consideration the state of the public schools, and method of education. What progress was made in this inquiry is not known, but in all probability the academies of Sir Francis Kynaston and Sir Balthazar Gerbier owed their origin to the meetings of this committee.

Edward F. Rimbault.

SHAKSPEARE AND FLETCHER

I feel greatly obliged to your correspondent C. B. for the attention he has bestowed on the question of Fletcher's connexion with Henry VIII., as it is only through the concurrent judgments of those who think the subject worthy of their full and impartial consideration, that we can hope to arrive at the truth. His remarks (Vol. iii., p. 190.) are the more valuable, as they coincide with a doubt in my own mind, which has, to a great extent, ripened since I last communicated with you on the subject; and, indeed, I have no need to hesitate in saying, that I had more difficulty in coming to a conclusion with regard to the scene (Act III. Sc. 2.) in which the passages occur quoted by C. B., than with any other scene in the whole play. The suggestions, that Shakspeare might have touched scenes of which the mass had been written by Fletcher, is a point which I had not overlooked, and which indeed, to some extent, might be said to follow from the view I took of the relation of Shakspeare and Fletcher as master and scholar. Yet this suggestion is especially valuable regarding this scene, and may account for that which, without it, is not so easily explained.

If, however, there be any lurking notion in your correspondent's mind, that the scene in Antony and Cleopatra (Act III. Sc. 1) referred to by X. Z. (Vol. iii., p. 139.) is, judging from certain coincidences of expression, an interpolation, and not by Shakspeare, I beg at once to be allowed to express my total dissent from such a view. Whether, also, there may have been any secondary allusion to some known event of the day, as X. Z. supposes, and as is by no means improbable, I cannot say; but I protest against its being said that the scene referred to is "totally unconnected with what goes before, and what follows." Antony is the hero of the play; and this scene shows the culminating point of Antony's fortunes, when his very successes turn against him.

To return to Henry VIII., the compliment to the Queen, to which your correspondent refers, is, as he very justly observes, brought in in a very forced manner. This, to my mind, is very strong evidence; otherwise I should not think it unworthy of Shakspeare. And it still has to be borne in mind, that he would have had to accommodate his characters and circumstances to the views of another writer. Shakspeare's spirit was too catholic, too universal, to have allowed, in a work entirely his own, even his Wolsey to have made use of the term "a spleeny Lutheran;" yet neither in the passage in which this expression occurs, nor in the one above referred to, is the versification characteristic of Fletcher. For my own part, however, I cannot recognise Shakspeare's spirit in this antagonism of creeds, which is, perhaps, even more strongly displayed in the prophetic speech of Cranmer's in the last scene, wherein he says, "God shall be truly known!" It may be said, that in both these instances the expressions are true to the characters of Wolsey and Cranmer. It may be so; for both are wanting in that ideal elevation which Shakspeare never fails to give. That, with this reservation, he becomes the mouth-piece of each character, is most true; and a curious instance of the writer's utter forgetfulness of his assumed character of contemporary with the events he is relating, occurring in Act. IV. Sc. 2 where Griffiths says—

"He was most princely: ever witness for himThose twins of learning, that he rais'd in you,Ipswich and Oxford! one of which fell with him,Unwilling to outlive the good that did it;The other, though unfinish'd, yet so famous,So excellent in art, and still so rising,"—

has no parallel in Shakspeare's works. To John Fletcher, indeed, at the close of the reign of Queen Elizabeth, these things were known; but scarcely to the attendant of Queen Katherine, who has but just narrated the circumstances, then newly happened, of Wolsey's fall. On maturer consideration, then, I am inclined to think that the whole of the scene (Act III. Sc. 2.) to which your correspondent refers, was originally written by Fletcher, although, as it now stands, it is strongly marked by the hand of Shakspeare. In the same category, also, I am inclined to place Scenes 3. and 4. of Act II. It will be observed that these changes are not inconsistent with the view I had previously taken; the effect being merely, that I am inclined to ascribe a little more than in the first instance to the hitherto unsuspected participator in the work. I am not sure, too, that I shall not be coming nearer to Mr. Spedding; as, if I am not mistaken, it is in some of these scenes that he imagines he detects "a third hand;" a theory which, though I do not adopt, I certainly have not confidence enough to reject altogether. But this view affects so very small a portion of the play, that it is of very little consequence.

Samuel Hickson.

ILLUSTRATIONS OF TENNYSON

That great poets are sometimes obscure, needs no proof. That the greatest poets will necessarily be so to the ordinary reader, seems to me equally indisputable.

Not without effort can one enter into the spontaneous thought of another, or even of himself in another mood. How much more when that other is distinguished from his fellows by the greatness and singularity of his thoughts, and by the extreme subtilty of their connecting links. Obscurity is not a blemish but an excellence, if the pains of seeking are more than compensated by the pleasures of finding, the luxury of μαθησις, where the concentrated energy of a passage, when once understood, gives it a hold on the imagination and memory such as were ill sacrificed to more diluted clearness.

Grandis præfatio tenui incepto—a sort of apology to Tennyson for implying that he needs illustration. Some time ago I made a few notes on particular passages in Locksley Hall, which I now enclose. Some of them are, I dare say, superfluous—some, possibly, erroneous. If so, they will stand a fair chance of being corrected in your valuable publication.

By the bye, if a "Notes and Queries" had existed in the days of Æschylus, we might have been saved from many a recourse to "corrupt text" and "lacunæ admodum deflendæ."

Notes on Locksley Hall

Stanza 2. "Dreary gleams:" in apposition with "curlews." I know the construction of this line has puzzled a good many readers.

Stanza 23. "Yet it shall be." Yet "decline" thou certainly wilt.

Stanza 28. "He will answer," &c. With an oath, it may be—at the least with a coarse rebuff.

Stanza 29. "The heart's disgrace." The disgrace, the injury, and degradation the heart has suffered—its prostitution to a mercenary service by a marriage of interest.

Stanza 34. "Never." Alas! I never can.

Stanza 35. "In division of the records of the mind." In dividing my recollections of her into two groups, and erasing the one.

Stanza 38. "The poet is" (as I think has been already pointed out) Dante.

Stanza 40. "He hunts," &c. He—thy husband.

Stanza 42. "Never, never," &c. Never again! (joys never to return) sung by the ghosts of years departed.

Stanza 51. "I have but an angry fancy"—my only qualification.

Stanza 53. "But the jingling of the guinea," &c. But there is no fighting now: the nations get over their quarrels in another way—by the jingling of the guinea, instead of the clang of arms.

Stanzas 54. "Mother-age."; 93. "Mother-age, for mine I know not."

This mother-age is a great difficulty. At first I took it for the past of history, but now understand by it the past of his own life, at least its earliest and brightest period—that age which had been as a mother, the only mother he ever knew.

Stanza 70. "Youthful joys." The bright hopes of his youth. (?)

Stanza 75. "Blinder motions," Less rational, less well-guided emotions.

Stanza 91. "The distance." The distant future, the "good time coming."

There are some lines in In Memoriam (I have not the book at hand, but any reader thereof will instantly recollect them), which indicate Tennyson's acquaintance with and appreciation of Jeremy Taylor, who thus expresses the thoughts of the "wild fellow in Petronius," suggested by the sight of a floating corpse.

"That peradventure this man's wife, in some part of the Continent, safe and warm, looks next month for the good man's return or, it may be, his son knows nothing of the tempest: or his father thinks of that affectionate kiss which is still warm upon the good old man's cheek ever since he took a kind farewell; and he weeps with joy to think how blessed he shall be when his beloved boy returns into the circle of his father's arms."—Holy Dying.

Compare with "Sure never moon to evening," &c., in the same poem, and I think the same place:

"Nec nox ulla diem, neque noctem aurora secuta est,Quæ non audierit mistos vagitibus ægrisPloratus mortis comites, et funeris atri."—Lucretius, ii. 579.G. P.

FOLK LORE

Sacramental Wine (Vol. iii., p. 179.).—From a note by Mr. Albert Way, on the use of sacramental wine, one would be led to infer that it was recommended on account of some superstitious belief in its superior excellency from having been used in religious worship; but I would suggest that the same reasons which recommend Teynt wine, the kind generally used for the Sacrament, are those which have established for it a reputation in cases of sickness: these are its rich red colour, and sweet and agreeable flavour.

Weakness is popularly supposed to be caused by a thinness and want of blood; if wine be recommended for this, there is a deeply rooted prejudice in favour of red wine because the blood is red, and upon no better principle than that which prescribes the yellow bark of the barberry for the yellow state of jaundice; the nettle, for the nettle-rash; and the navel-wort (Cotyledon umbilicus), for weakness about the umbilical region. The truth is, that rustic practice is much influenced by the doctrine of similitudes, the principle of "similia similibus curantur" having been more extensively recognised in the olden time than since the days of Hahnemann.

The sweetness of Teynt wine would recommend it for children, to whom a stronger wine is generally distasteful; but Port is generally prescribed as a tonic for adults.

It may further be remarked, that the recommendation to give Sacramental wine might arise from the fact, that, as in some parishes more wine is provided than is required, the remainder is put by to be given to the poor who may require it at the hands of the clergyman.

In sending these remarks, I am led to request that your correspondents would make Notes upon such old wives' remedies as are employed upon the principles I have mentioned.

James Buckman.

Cirencester, April 12.

Cure of Disease by means of Sheep.—A child in my parish has been for some time afflicted with disease of some of the respiratory organs. The mother was recommended to have it carried through a flock of sheep as they were let out of the fold in the morning. The time was considered to be of importance.

ב.

L– Rectory, Somerset.

ANCIENT INEDITED BALLADS, NO. IV

I next transcribe the following lines from the same MS. as my last. It is another epitaph on the Mr. Browne that I mentioned in No. II. It contains a curious illustration of a passage in Shakspeare, which has been often debated in the pages of "Notes and Queries," and so deserves preservation.

"Vpon the death of that right worthye man, Mr. Browne, late of Caius and Gonville Colledge disceased. Epicedion."—(Harl. MSS., No. 367. fol. 155.)

"If vowes or teares from heartes or eyes,Could pearce the unpenitrable skyes,Then might he live, that now heere lyes.But teares are tonguelesse, vowes are vaine,T' recall what fate calls; els how faineWhat death hath seis'd, wold I regaine.But sure th' immortal one belavesThis wished soule in 's blissfull waves:Ill comes too oft, when no man craves.Rest, therefore, vrne, rest quietlye,And when my fates shall call on me,So may I rest, as I wish the."R. Constable,Caio-Gonvillensis."

I need hardly point out the striking similarity between the expression in Shakspeare—

"and the delighted spiritTo bathe in fiery floods,"—

and the third stanza of this poem.

Kenneth R. H. Mackenzie.

POETICAL COINCIDENCES, ETC

Byron

In the Jealous Lovers of Thomas Randolph, the following passage occurs, which may possibly have suggested to Lord Byron the fearful curse he has put into the mouth of Eve, in "the grand and tremendous drama of Cain."1

"May perpetual jealousieWait on their beds, and poison their embracesWith just suspitions; may their children beDeform'd, and fright the mother at the birth:May they live long and wretched; all men's hate,And yet have misery enough for pity:May they be long a-dying—of diseasesPainful and loathsome," &c.

That exquisite stanza in the Third Canto of Childe Harold, "Even as a broken mirror," &c., has been often admired. In Carew's poem, The Spark, I find the following lines, which contain similar image:

"And as a looking-glass, from the aspect,Whilst it is whole, doth but one face reflect,But being crack'd, or broken, there are shownMany half faces, which at first were one;So Love," &c.

To the coincidences which have been already pointed out regarding that exquisite line in the Bride of Abydos:

"The mind, the music breathing from her face,"

the following from Carew may perhaps be added:

"The harmony of colours, features, grace,Resulting airs (the magic of a face)Of musical sweet tunes, all which combin'd,To crown one sovereign beauty, lie confinedTo this dark vault."—Epitaph on the Lady S.

All will recollect the wonderful description of the shipwreck in Don Juan; and more particularly the incidents so graphically related in stanzas 52 and 53 of the Second Canto: to a part of which, the following passage fro Lee's Œdipus bears some resemblance:

"Methought I heard a voice,Now roaring like the ocean, when the windsFight with the waves; now in a still small toneYour dying accents fell, as wrecking ships,After the dreadful yell, sink murm'ring down,And bubble up a noise."

I have now before me a print of John, the first Lord Byron, engraved from a painting in the collection of Lord Delaware; in which he is pourtrayed in armour, with a truncheon in the left hand, and the right arm bare to above the elbow. Can this have suggested to Lord Byron the idea of describing "Alp the renegade" as fighting with "the white arm bare," in the Siege of Corinth?

Byron refers to Smollett as an authority for "blatant beast," apparently forgetting that the figure originated with Spenser. Again, in a note to Don Juan

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1

Sir Walter Scott.