Chapter 21

Schopenhauer’s The World Considered as Will and Imagination.Translated by Dr.Franz Hueffer, Author of “Richard Wagner and the Music of the Future.”

[In preparation.

THE “SECRET OUT” SERIES.

Crown 8vo, cloth extra, profusely Illustrated, price 4s.6d.each.

Art of Amusing.A Collection of Graceful Arts, Games, Tricks, Puzzles, and Charades, intended to Amuse Everybody. ByFrank Bellew. With nearly 300 Illustrations.

Hanky-Panky.A Wonderful Book of Very Easy Tricks, Very Difficult Tricks, White Magic, Sleight of Hand; in fact, all those startling Deceptions which the Great Wizards call “Hanky-Panky.” Edited byW. H. Cremer. With nearly 200 Illustrations.

Magician’s Own Book.Ample Instruction for Performances with Cups and Balls, Eggs, Hats, Handkerchiefs, &c All from Actual Experience. Edited byW. H. Cremer. With 200 Illustrations.

Magic No Mystery.A Splendid Collection of Tricks with Cards, Dice, Balls, &c, with fully descriptive working Directions. With very numerous Illustrations. [Nearly ready.

Merry Circle (The), and How the Visitors were entertained during Twelve Pleasant Evenings. A Book of New Intellectual Games and Amusements. Edited by Mrs.Clara Bellew. With numerous Illustrations.

Secret Out; or, One Thousand Tricks with Cards, and other Recreations; with Entertaining Experiments in Drawing Room or “White Magic.” Edited byW. H. Cremer. With 300 Engravings.

Shelley’s Early Life.From Original Sources. With Curious Incidents, Letters, and Writings, now First Published or Collected. ByDenis Florence Mac-Carthy. Crown 8vo, with Illustrations, 440 pages, 7s.6d.

Sheridan’s Complete Works, with Life and Anecdotes. Including his Dramatic Writings, printed from the Original Editions, his Works in Prose and Poetry, Translations, Speeches, Jokes, Puns, &c; with a Collection of Sheridaniana. Crown 8vo, cloth gilt, with 10 beautifully executed Portraits and Scenes from his Plays, 7s.6d.

HELP ME THROUGH THIS WORLD!

Signboards: Their History. With Anecdotes of Famous Taverns and Remarkable Characters. ByJacob LarwoodandJohn Camden Hotten.Seventh Edition.Crown 8vo, cloth extra, 7s.6d.

“It is not fair on the part of a reviewer to pick out the plums of an author’s book, thus filching away his cream, and leaving little but skim-milk remaining; but, even if we were ever so maliciously inclined, we could not in the present instance pick out all Messrs. Larwood and Hotten’s plums, because the good things are so numerous as to defy the most wholesale depredation.”—The Times.

⁂Nearly 100 most curious illustrations on wood are given, showing the signs which were formerly hung from taverns, &c.

HANDBOOK OF COLLOQUIALISMS.

THE WEDGE AND THE WOODEN SPOON.

The Slang Dictionary:Etymological, Historical, and Anecdotal. AnEntirely New Edition, revised throughout, and considerably Enlarged, containing upwards of a thousand more words than the last edition. Crown 8vo, with Curious Illustrations, cloth extra, 6s.6d

“Peculiarly a book which ‘no gentleman’s library should be without,’ while to costermongers and thieves it is absolutely indispensable.”—Dispatch.“Interesting and curious. Contains as many as it was possible to collect of all the words and phrases of modern slang in use at the present time.”—Public Opinion.“In every way a great improvement on the edition of 1864. Its uses as a dictionary of the very vulgar tongue do not require to be explained.”—Notes and Queries.“Compiled with most exacting care, and based on the best authorities.”—Standard.“In ‘The Slang Dictionary’ we have not only a book that reflects credit upon the philologist; it is also a volume that will repay, at any time, a dip into its humorous pages.”—Figaro.

“Peculiarly a book which ‘no gentleman’s library should be without,’ while to costermongers and thieves it is absolutely indispensable.”—Dispatch.

“Interesting and curious. Contains as many as it was possible to collect of all the words and phrases of modern slang in use at the present time.”—Public Opinion.

“In every way a great improvement on the edition of 1864. Its uses as a dictionary of the very vulgar tongue do not require to be explained.”—Notes and Queries.

“Compiled with most exacting care, and based on the best authorities.”—Standard.

“In ‘The Slang Dictionary’ we have not only a book that reflects credit upon the philologist; it is also a volume that will repay, at any time, a dip into its humorous pages.”—Figaro.

WEST-END LIFE AND DOINGS.

Story of the London Parks.ByJacob Larwood. With numerous Illustrations, Coloured and Plain. In One thick Volume, crown 8vo, cloth extra, gilt, 7s.6d.

⁂A most interesting work, giving a complete History of these favourite out-of-door resorts, from the earliest period to the present time.A KEEPSAKE FOR SMOKERS.Smoker’s Text-Book.ByJ. Hamer, F.R.S.L. Exquisitely printed from “silver-faced” type, cloth, very neat, gilt edges, 2s.6d., post free.CHARMING NEW TRAVEL-BOOK.“It may be we shall touch the happy isles.”Summer Cruising in the South Seas.ByCharles Warren Stoddard. With Twenty-five Engravings on Wood, drawn byWallis Mackay. Crown 8vo, cloth, extra gilt, 7s.6d.“This is a very amusing book, and full of that quiet humour for which the Americans are so famous. We have not space to enumerate all the picturesque descriptions, the poetical thoughts, which have so charmed us in this volume; but we recommend our readers to go to the South Seas with Mr. Stoddard in his prettily illustrated and amusingly written little book.”—Vanity Fair.“Mr. Stoddard’s book is delightful reading, and in Mr. Wallis Mackay he has found a most congenial and poetical illustrator.”—Bookseller.“A remarkable book, which has a certain wild picturesqueness.”—Standard.“The author’s experiences are very amusingly related, and, in parts, with much freshness and originality.”—Judy.“Mr. Stoddard is a humourist; ‘Summer Cruising’ has a good deal of undeniable amusement.”—Nation.Syntax’s (Dr.) Three Tours.With the whole ofRowlandson’svery droll full-page Illustrations, in Colours, after the Original Drawings. Comprising the well-knownTours—1. In Search of the Picturesque. 2. In Search of Consolation. 3. In Search of a Wife.The Three Series Complete, with a Life of the Author byJohn Camden Hotten. Medium 8vo, cloth extra, gilt, price 7s.6d.Theseus: A Greek Fairy Legend.Illustrated, in a series of Designs in Gold and Sepia, byJohn Moyr Smith. With descriptive text. Oblong folio, price 7s.6d.THEODORE HOOK’S HOUSE, NEAR PUTNEY.Theodore Hook’s Choice Humorous Works, with his Ludicrous Adventures, Bons-mots, Puns, and Hoaxes. With a new Life of the Author,Portraits,Facsimiles, andIllustrations. Crown 8vo, 600 pages, cloth extra, 7s.6d.⁂“As a wit and humourist of the highest order his name will be preserved. His political songs andjeux d’esprit, when the hour comes for collecting them,will form a volume of sterling and lasting attraction!”—J. G. Lockhart.MR. SWINBURNE’S WORKS.Second Edition now ready ofBothwell: A Tragedy. ByAlgernon Charles Swinburne. Crown 8vo, cloth extra, pp. 540, 12s.6d.“Mr. Swinburne’s most prejudiced critic cannot, we think, deny that ‘Bothwell’ is a poem of a very high character. Every line bears traces of power, individuality, and vivid imagination. The versification, while characteristically supple and melodious, also attains, in spite of some affectations, to a sustained strength and dignity of a remarkable kind. Mr. Swinburne is not only a master of the music of language, but he has that indescribable touch which discloses the true poet—the touch that lifts from off the ground.”—Saturday Review.“It is not too much to say that, should he never write anything more, the poet has by this work firmly established his position, and given us a poem upon which his fame may safely rest. He no longer indulges in that frequent alliteration, or that oppressive wealth of imagery and colour, which gave rhythm and splendour to some of his works, but would have been out of place in a grand historical poem; we have now a fair opportunity of judging what the poet can do when deprived of such adventitious aid,—and the verdict is, that he must henceforth rank amongst the first of British authors.”—Graphic.“The whole drama flames and rings with high passions and great deeds. The imagination is splendid; the style large and imperial; the insight into character keen; the blank verse varied, sensitive, flexible, alive. Mr. Swinburne has once more proved his right to occupy a seat among the lofty singers of our land.”—Daily News.“A really grand, statuesque dramatic work.... The reader will here find Mr. Swinburne at his very best; if manliness, dignity, and fulness of style are superior to mere pleasant singing and alliterative lyrics.”—Standard.“Splendid pictures, subtle analyses of passion, and wonderful studies of character will repay him who attains the end.... In this huge volume are many fine and some unsurpassable things. Subtlest traits of character abound, and descriptive passages of singular delicacy.”—Athenæum.“There can be no doubt of the dramatic force of the poem. It is severely simple in its diction, and never dull; there are innumerable fine touches on almost every page.”—Scotsman.“‘Bothwell’ shows us Mr. Swinburne at a point immeasurably superior to any that he has yet achieved. It will confirm and increase the reputation which his daring genius has already won. He has handled a difficult subject with a mastery of art which is a true intellectual triumph.”—Hour.Chastelard: A Tragedy. Foolscap 8vo, 7s.Poems and Ballads.Foolscap 8vo, 9s.Notes on “Poems and Ballads,”and on the Reviews of them. Demy 8vo, 1s.Songs before Sunrise.Post 8vo, 10s.6d.Atalanta in Calydon.Fcap. 8vo, 6s.The Queen Mother and Rosamond.Foolscap 8vo, 5s.A Song of Italy.Foolscap 8vo, 3s.6d.Ode on the Proclamation of the French Republic.Demy 8vo, 1s.Under the Microscope.Post 8vo, 2s.6d.William Blake: A Critical Essay. With facsimile Paintings, Coloured by Hand, after the Drawings by Blake and his Wife. Demy 8vo, 16s.THE THACKERAY SKETCH-BOOK.THACKERAYANA:Notes and Anecdotes, Illustrated by about Six Hundred Sketches byWilliam Makepeace Thackeray, depicting Humorous Incidents in his School-life, and Favourite Scenes and Characters in the books of his every-day reading,now for the First Time Published, from the Original Drawings made on the margins of his books, &c Large post 8vo, clth. extra gilt, gilt top, price 12s.6d.“It is Thackeray’s aim to represent life as it is actually and historically—men and women as they are, in those situations in which they are usually placed, with that mixture of good and evil, of strength and foible, which is to be found in their characters, and liable only to those incidents which are of ordinary occurrence. He will have no faultless characters, no demi-gods,—nothing but men and brethren.”—David Masson.Sir Lumley Skeffington at the Birthday Ball.Timbs’ English Eccentrics and Eccentricities.Stories of Wealth and Fashion, Delusions, Impostures and Fanatic Missions, Strange Sights and Sporting Scenes, Eccentric Artists, Theatrical Folks, Men of Letters, &c ByJohn Times, F.S.A. An entirely New Edition, with about 50 Illustrations. Crown 8vo, cloth extra, 600 pages, 7s.6d.Timbs’ Clubs and Club Life in London.WithAnecdotesof itsFamous Coffee Houses,Hostelries, andTaverns. ByJohn Timbs, F.S.A. New Edition, withnumerous Illustrationsdrawn expressly. Crown 8vo, cloth extra, 600 pages, 7s.6d.⁂A Companion to “The History of Sign-Boards.”It abounds in quaint stories of theBlue Stocking, Kit-Kat, Beef Steak, Robin Hood, Mohocks, Scriblerus, One o’Clock, the Civil,and hundreds of other Clubs; together withTom’s, Dick’s, Button’s, Ned’s, Will’s,and the famous Coffee Houses of the last century.“The book supplies a much-felt want. The club is the avenue to general society at the present day, and Mr. Timbs gives theentréeto the club. The scholar and antiquary will also find the work a repertory of information on many disputed points of literary interest, and especially respecting various well-known anecdotes, the value of which only increases with the lapse of time.”—Morning Post.

⁂A most interesting work, giving a complete History of these favourite out-of-door resorts, from the earliest period to the present time.

A KEEPSAKE FOR SMOKERS.

Smoker’s Text-Book.ByJ. Hamer, F.R.S.L. Exquisitely printed from “silver-faced” type, cloth, very neat, gilt edges, 2s.6d., post free.

CHARMING NEW TRAVEL-BOOK.

“It may be we shall touch the happy isles.”

Summer Cruising in the South Seas.

ByCharles Warren Stoddard. With Twenty-five Engravings on Wood, drawn byWallis Mackay. Crown 8vo, cloth, extra gilt, 7s.6d.

“This is a very amusing book, and full of that quiet humour for which the Americans are so famous. We have not space to enumerate all the picturesque descriptions, the poetical thoughts, which have so charmed us in this volume; but we recommend our readers to go to the South Seas with Mr. Stoddard in his prettily illustrated and amusingly written little book.”—Vanity Fair.“Mr. Stoddard’s book is delightful reading, and in Mr. Wallis Mackay he has found a most congenial and poetical illustrator.”—Bookseller.“A remarkable book, which has a certain wild picturesqueness.”—Standard.“The author’s experiences are very amusingly related, and, in parts, with much freshness and originality.”—Judy.“Mr. Stoddard is a humourist; ‘Summer Cruising’ has a good deal of undeniable amusement.”—Nation.

“Mr. Stoddard’s book is delightful reading, and in Mr. Wallis Mackay he has found a most congenial and poetical illustrator.”—Bookseller.

“A remarkable book, which has a certain wild picturesqueness.”—Standard.

“The author’s experiences are very amusingly related, and, in parts, with much freshness and originality.”—Judy.

“Mr. Stoddard is a humourist; ‘Summer Cruising’ has a good deal of undeniable amusement.”—Nation.

Syntax’s (Dr.) Three Tours.With the whole ofRowlandson’svery droll full-page Illustrations, in Colours, after the Original Drawings. Comprising the well-knownTours—1. In Search of the Picturesque. 2. In Search of Consolation. 3. In Search of a Wife.The Three Series Complete, with a Life of the Author byJohn Camden Hotten. Medium 8vo, cloth extra, gilt, price 7s.6d.

Theseus: A Greek Fairy Legend.Illustrated, in a series of Designs in Gold and Sepia, byJohn Moyr Smith. With descriptive text. Oblong folio, price 7s.6d.

THEODORE HOOK’S HOUSE, NEAR PUTNEY.

Theodore Hook’s Choice Humorous Works, with his Ludicrous Adventures, Bons-mots, Puns, and Hoaxes. With a new Life of the Author,Portraits,Facsimiles, andIllustrations. Crown 8vo, 600 pages, cloth extra, 7s.6d.

⁂“As a wit and humourist of the highest order his name will be preserved. His political songs andjeux d’esprit, when the hour comes for collecting them,will form a volume of sterling and lasting attraction!”—J. G. Lockhart.

MR. SWINBURNE’S WORKS.

Second Edition now ready of

Bothwell: A Tragedy. ByAlgernon Charles Swinburne. Crown 8vo, cloth extra, pp. 540, 12s.6d.

“Mr. Swinburne’s most prejudiced critic cannot, we think, deny that ‘Bothwell’ is a poem of a very high character. Every line bears traces of power, individuality, and vivid imagination. The versification, while characteristically supple and melodious, also attains, in spite of some affectations, to a sustained strength and dignity of a remarkable kind. Mr. Swinburne is not only a master of the music of language, but he has that indescribable touch which discloses the true poet—the touch that lifts from off the ground.”—Saturday Review.“It is not too much to say that, should he never write anything more, the poet has by this work firmly established his position, and given us a poem upon which his fame may safely rest. He no longer indulges in that frequent alliteration, or that oppressive wealth of imagery and colour, which gave rhythm and splendour to some of his works, but would have been out of place in a grand historical poem; we have now a fair opportunity of judging what the poet can do when deprived of such adventitious aid,—and the verdict is, that he must henceforth rank amongst the first of British authors.”—Graphic.“The whole drama flames and rings with high passions and great deeds. The imagination is splendid; the style large and imperial; the insight into character keen; the blank verse varied, sensitive, flexible, alive. Mr. Swinburne has once more proved his right to occupy a seat among the lofty singers of our land.”—Daily News.“A really grand, statuesque dramatic work.... The reader will here find Mr. Swinburne at his very best; if manliness, dignity, and fulness of style are superior to mere pleasant singing and alliterative lyrics.”—Standard.“Splendid pictures, subtle analyses of passion, and wonderful studies of character will repay him who attains the end.... In this huge volume are many fine and some unsurpassable things. Subtlest traits of character abound, and descriptive passages of singular delicacy.”—Athenæum.“There can be no doubt of the dramatic force of the poem. It is severely simple in its diction, and never dull; there are innumerable fine touches on almost every page.”—Scotsman.“‘Bothwell’ shows us Mr. Swinburne at a point immeasurably superior to any that he has yet achieved. It will confirm and increase the reputation which his daring genius has already won. He has handled a difficult subject with a mastery of art which is a true intellectual triumph.”—Hour.

“It is not too much to say that, should he never write anything more, the poet has by this work firmly established his position, and given us a poem upon which his fame may safely rest. He no longer indulges in that frequent alliteration, or that oppressive wealth of imagery and colour, which gave rhythm and splendour to some of his works, but would have been out of place in a grand historical poem; we have now a fair opportunity of judging what the poet can do when deprived of such adventitious aid,—and the verdict is, that he must henceforth rank amongst the first of British authors.”—Graphic.

“The whole drama flames and rings with high passions and great deeds. The imagination is splendid; the style large and imperial; the insight into character keen; the blank verse varied, sensitive, flexible, alive. Mr. Swinburne has once more proved his right to occupy a seat among the lofty singers of our land.”—Daily News.

“A really grand, statuesque dramatic work.... The reader will here find Mr. Swinburne at his very best; if manliness, dignity, and fulness of style are superior to mere pleasant singing and alliterative lyrics.”—Standard.

“Splendid pictures, subtle analyses of passion, and wonderful studies of character will repay him who attains the end.... In this huge volume are many fine and some unsurpassable things. Subtlest traits of character abound, and descriptive passages of singular delicacy.”—Athenæum.

“There can be no doubt of the dramatic force of the poem. It is severely simple in its diction, and never dull; there are innumerable fine touches on almost every page.”—Scotsman.

“‘Bothwell’ shows us Mr. Swinburne at a point immeasurably superior to any that he has yet achieved. It will confirm and increase the reputation which his daring genius has already won. He has handled a difficult subject with a mastery of art which is a true intellectual triumph.”—Hour.

Chastelard: A Tragedy. Foolscap 8vo, 7s.

Poems and Ballads.Foolscap 8vo, 9s.

Notes on “Poems and Ballads,”and on the Reviews of them. Demy 8vo, 1s.

Songs before Sunrise.Post 8vo, 10s.6d.

Atalanta in Calydon.Fcap. 8vo, 6s.

The Queen Mother and Rosamond.Foolscap 8vo, 5s.

A Song of Italy.Foolscap 8vo, 3s.6d.

Ode on the Proclamation of the French Republic.Demy 8vo, 1s.

Under the Microscope.Post 8vo, 2s.6d.

William Blake: A Critical Essay. With facsimile Paintings, Coloured by Hand, after the Drawings by Blake and his Wife. Demy 8vo, 16s.

THE THACKERAY SKETCH-BOOK.

THACKERAYANA:

Notes and Anecdotes, Illustrated by about Six Hundred Sketches byWilliam Makepeace Thackeray, depicting Humorous Incidents in his School-life, and Favourite Scenes and Characters in the books of his every-day reading,now for the First Time Published, from the Original Drawings made on the margins of his books, &c Large post 8vo, clth. extra gilt, gilt top, price 12s.6d.

“It is Thackeray’s aim to represent life as it is actually and historically—men and women as they are, in those situations in which they are usually placed, with that mixture of good and evil, of strength and foible, which is to be found in their characters, and liable only to those incidents which are of ordinary occurrence. He will have no faultless characters, no demi-gods,—nothing but men and brethren.”—David Masson.

Sir Lumley Skeffington at the Birthday Ball.

Timbs’ English Eccentrics and Eccentricities.Stories of Wealth and Fashion, Delusions, Impostures and Fanatic Missions, Strange Sights and Sporting Scenes, Eccentric Artists, Theatrical Folks, Men of Letters, &c ByJohn Times, F.S.A. An entirely New Edition, with about 50 Illustrations. Crown 8vo, cloth extra, 600 pages, 7s.6d.

Timbs’ Clubs and Club Life in London.WithAnecdotesof itsFamous Coffee Houses,Hostelries, andTaverns. ByJohn Timbs, F.S.A. New Edition, withnumerous Illustrationsdrawn expressly. Crown 8vo, cloth extra, 600 pages, 7s.6d.

⁂A Companion to “The History of Sign-Boards.”It abounds in quaint stories of theBlue Stocking, Kit-Kat, Beef Steak, Robin Hood, Mohocks, Scriblerus, One o’Clock, the Civil,and hundreds of other Clubs; together withTom’s, Dick’s, Button’s, Ned’s, Will’s,and the famous Coffee Houses of the last century.“The book supplies a much-felt want. The club is the avenue to general society at the present day, and Mr. Timbs gives theentréeto the club. The scholar and antiquary will also find the work a repertory of information on many disputed points of literary interest, and especially respecting various well-known anecdotes, the value of which only increases with the lapse of time.”—Morning Post.

“The book supplies a much-felt want. The club is the avenue to general society at the present day, and Mr. Timbs gives theentréeto the club. The scholar and antiquary will also find the work a repertory of information on many disputed points of literary interest, and especially respecting various well-known anecdotes, the value of which only increases with the lapse of time.”—Morning Post.

Blake’s Works.Messrs.Chatto & Windushave in preparation a series of Reproductions in Facsimile of the Works ofWilliam Blake, including the “Songs of Innocence and Experience,” “The Book of Thel,” “America,” “The Vision of the Daughters of Albion,” “The Marriage of Heaven and Hell,” “Europe, a Prophecy,” “Jerusalem,” “Milton,” “Urizen,” “The Song of Los,” &c These Works will be issued both coloured and plain.

Taylor’s History of Playing Cards.With Sixty curious Illustrations. 550 pp., crown 8vo, cloth, extra gilt, price 7s.6d.

⁂Ancient and Modern Games, Conjuring, Fortune-Telling, and Card Sharping, Gambling and Calculation, Cartomancy, Old Gaming-Houses, Card Revels and Blind Hookey, Picquet and Vingt-et-un, Whist and Cribbage, Tricks, &c.

Vagabondiana; or, Anecdotes of Mendicant Wanderers through the Streets of London; with Portraits of the most remarkable, drawn from the Life byJohn Thomas Smith, late Keeper of the Prints in the British Museum. With Introduction byFrancis Douce, and descriptive text. Reprinted from the original, with the Woodcuts, and the 32 Plates, from the original Coppers, in crown 4to, half Roxburghe, price 12s.6d.

“LES MISÉRABLES.” Complete in Three Parts.

Victor Hugo’s Fantine.Now first published in an English Translation, complete and unabridged, with the exception of a few advisable omissions. Post 8vo, illustrated boards, 2s.

“This work has something more than the beauties of an exquisite style or the word-compelling power of a literary Zeus to recommend it to the tender care of a distant posterity: in dealing with all the emotions, passions, doubts, fears, which go to make up our common humanity, M. Victor Hugo has stamped upon every page the Hall-mark of genius and the loving patience and conscientious labour of a true artist. But the merits of ‘Les Misérables’ do not merely consist in the conception of it as a whole; it abounds, page after page, with details of unequalled beauty.”—Quarterly Review.

Victor Hugo’s Cosette and Marius.Translated into English, complete, uniform with “Fantine.” Post 8vo, illustrated boards, 2s.

Victor Hugo’s Saint Denis and Jean Valjean.Translated into English, complete, uniform with the above. Post 8vo, illustrated boards, 2s.6d.

Vyner’s Notitia Venatica: A Treatise on Fox-Hunting, the General Management of Hounds, and the Diseases of Dogs; Distemper and Rabies; Kennel Lameness, &c Sixth Edition, Enlarged. ByRobert C. Vyner.With spirited Illustrations in Colours, by Alken, of Memorable Fox-Hunting Scenes. Royal 8vo, cloth extra, 21s.

⁂An entirely new edition of the best work on Fox-Hunting.

Walt Whitman’s Leaves of Grass.The Complete Work, precisely as issued by the Author in Washington. A thick volume, 8vo, green cloth, price 9s.

Walton and Cotton, Illustrated.—The Complete Angler; or, the Contemplative Man’s Recreation; being a Discourse of Rivers, Fish-ponds, Fish and Fishing, written byIzaak Walton; and Instructions how to Angle for a Trout or Grayling in a clear Stream, byCharles Cotton. With Original Memoirs and Notes by SirHarris Nicolas, K.C.M.G. With the whole 61 Illustrations, precisely as in the royal 8vo two-volume Edition issued by Pickering. A New Edition, complete in One Volume, large crown 8vo, with the Illustrations from the original plates, printed on full pages, separately from the text, 7s.6d.

Warrant to Execute Charles I.An exact Facsimile of this important Document, with the Fifty-nine Signatures of the Regicides, and corresponding Seals, admirably executed on paper made to imitate the original document, 22 in. by 14 in. Price 2s.; or, handsomely framed and glazed in carved oak of antique pattern, 14s.6d.

Warrant to Execute Mary Queen of Scots.The Exact Facsimile of this important Document, including the Signature of Queen Elizabeth and Facsimile of the Great Seal, on tinted paper, to imitate the Original MS. Price 2s.; or, handsomely framed and glazed in carved oak, antique pattern, 14s.6d.

Waterford Roll (The).—Illuminated Charter-Roll of Waterford, Temp. Richard II.

⁂Amongst the Corporation Muniments of the City of Waterford is preserved an ancient Illuminated Roll, of great interest and beauty, comprising all the early Charters and Grants to the City of Waterford, from the time of Henry II. to Richard II. A full-length Portrait of each King, whose Charter is given—including Edward III., when young, and again at an advanced age—adorns the margin. These Portraits, with the exception of four which are smaller, and on one sheet of vellum, vary from eight to nine inches in length—some in armour, and some in robes of state. In addition to these are Portraits of an Archbishop in full canonicals, of a Chancellor, and of many of the chief Burgesses of the City of Waterford, as well as singularly curious Portraits of the Mayors of Dublin, Waterford, Limerick, and Cork, figured for the most part in the quaint bipartite costume of the Second Richard’s reign, though partaking of many of the peculiarities of that of Edward III. Altogether this ancient work of art is unique of its kind in Ireland, and deserves to be rescued from oblivion, by the publication of the unedited Charters, and of fac-similes of all the Illuminations. The production of such a work would throw much light on the question of the art and social habits of the Anglo-Norman settlers in Ireland at the close of the fourteenth century. The Charters are, many of them, highly important from an historic point of view.The Illuminations have been accurately traced and coloured for the work from a copy carefully made, by permission of the Mayor and Corporation of Waterford, by the late George V. Du Noyer, Esq., M.R.I.A.; and those Charters which have not already appeared in print will be edited by the Rev. James Graves, A.B., M.R.I.A., Hon. Secretary Kilkenny and South-East of Ireland Archæological Society.The Work will be brought out in the best manner, with embossed cover and characteristic title-page; and it will be put to press as soon as 250 subscribers are obtained. The price, in imperial 4to, is 20s. to subscribers, or 30s. to non-subscribers.

The Illuminations have been accurately traced and coloured for the work from a copy carefully made, by permission of the Mayor and Corporation of Waterford, by the late George V. Du Noyer, Esq., M.R.I.A.; and those Charters which have not already appeared in print will be edited by the Rev. James Graves, A.B., M.R.I.A., Hon. Secretary Kilkenny and South-East of Ireland Archæological Society.

The Work will be brought out in the best manner, with embossed cover and characteristic title-page; and it will be put to press as soon as 250 subscribers are obtained. The price, in imperial 4to, is 20s. to subscribers, or 30s. to non-subscribers.

Wonderful Characters: Memoirs and Anecdotes of Remarkable and Eccentric Persons of Every Age and Nation. From the text ofHenry WilsonandJames Caulfield. Crown 8vo, cloth extra, with Sixty-one full-page Engravings of Extraordinary Persons, 7s.6d.

⁂There are so many curious matters discussed in this volume, that any person who takes it up will not readily lay it down until he has read it through. The Introduction is almost entirety devoted to a consideration of Pig-Faced Ladies, and the various stories concerning them.

Wright’s (Andrew) Court-Hand Restored; or, Student’s Assistant in Reading Old Deeds, Charters, Records, &c Half Morocco, a New Edition, 10s.6d.

⁂The best guide to the reading of old Records, &c.

Wright’s Caricature History of the Georges(House of Hanover). With 400 Pictures, Caricatures, Squibs, Broadsides, Window Pictures, &c ByThomas Wright, Esq., M.A., F.S.A. Crown 8vo, cloth extra, 7s.6d.

“A set of caricatures such as we have in Mr. Wright’s volume brings the surface of the age before us with a vividness that no prose writer, even of the highest power, could emulate. Macaulay’s most brilliant sentence is weak by the side of the little woodcut from Gillray, which gives us Burke and Fox.”—Saturday Review.“A more amusing work of its kind was never issued.”—Art Journal.“It is emphatically one of the liveliest of books, as also one of the most interesting. It has the twofold merit of being at once amusing and edifying.”—Morning Post.

“A more amusing work of its kind was never issued.”—Art Journal.

“It is emphatically one of the liveliest of books, as also one of the most interesting. It has the twofold merit of being at once amusing and edifying.”—Morning Post.

Yankee Drolleries, Edited byG. A. Sala. ContainingArtemus Ward’s Book;Biglow Papers;Orpheus C. Kerr;Jack Downing; andNasby Papers. 700 pp., 3s.6d.

More Yankee Drolleries.ContainingArtemus Ward’s Travels;Hans Breitmann;Professor at Breakfast Table;Biglow Papers, Part II.; andJosh Billings; with Introduction byG. A. Sala. 700 pp., cloth, 3s.6d.

A Third Supply of Yankee Drolleries.ContainingArtemus Ward’s Fenians;Autocrat of Breakfast Table;Bret Harte’s Stories;Innocents Abroad; andNew Pilgrim’s Progress; with an Introduction byG. A. Sala. 700 pp., cloth, 3s.6d.

[1]Plin. Hist. Nat., lib. xxxv. c. 8.[2]Panoska Terracotten des Museums Berlin, pl. lxi. p. 154.[3]Given in Panofka,“Antiques du Cabinet Pourtalès,”pl. x.[4]Arnobius (contra Gentes), lib. iv. p. 150.Carmen malum conscribere, quo fama alterius coinquinatur et vita, decemviralibus scitis evadere noluistis impune: ac ne vestras aures convitio aliquis petulantiore pulsaret, de atrocibus formulas constituistis injuriis. Soli dii sunt apud vos superi inhonorati, contemtibiles, viles: in quos jus est vobis datum quæ quisque voluerit dicere turpitudinem, jacere quas libido confinxerit atque excogitaverit formas.[5]Pliny, Hist. Nat., lib. xxxv. c. 40.[6]Pliny, Hist. Nat., lib. xxxv. c. 40.[7]Engraved by Ch. Lenormant et J. de Witt,“Elite des Monuments Céramographiques,”pl. xciv.[8]These intaglios are engraved in the Museum Florentinum of Gorius, vol. ii. pl. 30. On one of them the figures are reversed.[9]It is said to have received its Latin name from this circumstance,persona, a personando. See Aulus Gellius, Noct. Att., lib. v. c. 7.[10]“Simulacrum ... quod opponitur faciei ad terrendos parvos.”(Ugutio, ap. Ducange, v.Masca.)[11]See, for allusions to the private employment of these performances, Pliny, Epist. i. 15, and ix. 36.[12]Quintilian says, “Satira quidem tota nostra est.” De Instit. Orator., lib. x. c. 1.[13]ἐπί των καπηλίων. Problem. Aristotelic. Sec. x. 7.[14]On this subject, see my “History of Domestic Manners and Sentiments,” p. 65. The dancing bear appears to have been a favourite performer among the Germans at a very early period.[15]Per totam noctem cantabantur hic nefaria et a cantatoribus saltabatur.Augustini Serm. 311, part v.[16]Noctes pervigiles cum ebrietate, scurrilitate, vel canticis.See the Capitulary in Labbei Concil., vol. v.[17]Ut populi.....saltationibus et turpibus invigilant canticis.[18]The reader is referred, for further information on this subject, to my “History of Domestic Manners and Sentiments,” pp. 33-39.[19]This curious Latin poem was printed by Grimm and Schmeller, in theirLateinische Gedichte des x. und xi. Jh., p. 129.[20]On the character of the nuns among the Anglo-Saxons, and indeed of the inmates of the monastic houses generally, I would refer my readers to the excellent and interesting volume by Mr. John Thrupp, “The Anglo-Saxon Home: a History of the Domestic Institutions and Customs of England from the fifth to the eleventh century.” London, 1862.[21]These will be found in M. Edélestand du Méril’sPoésies Populaires Latines antérieures au douzième siècle, pp. 275, 276.[22]This, and the metrical story next referred to, were printed in the“Altdeutsche Blätter,”edited by Moriz Haupt and Heinrich Hoffmann, vol. i. pp. 390, 392, to whom I communicated them from a manuscript in the University Library at Cambridge.[23]The text of this singular composition, with a full account of the various forms in which it was published, will be found in M. du Méril’s“Poésies Populaires Latines antérieures au douzième siècle,”p. 193.[24]“Formam quandam villosam, hispidam, et hirsutam, adeoque enormiter deformem.”Girald. Camb., Itiner. Camb., lib. i. c. 5.[25]An engraving of this scene, modernised in character, is given in Nichols’s “Leicestershire,” vol. i. plate 43.[26]The Latin text of this and some others of the fables of Odo de Cirington will be found in my “Selection of Latin Stories,” pp. 50-52, 55-58, and 80.[27]See the dissertation by M. Paulin Paris, published in his nice popular modern abridgment of the French romance, published in 1861, under the title“Les Aventures de Maître Renart et d’Ysengrin son compère.”On the debated question of the origin of the Romance, see the learned and able work by Jonckbloet, 8vo., Groningue, 1863.[28]“Insultationes, clamores, sonos, et alios tumultus, in secundis et tertiis quorundam nuptiis, quos charivarium vulgo appellant, propter multa et gravia incommoda, prohibemus sub pœna excommunitationis.”—Ducange, v.Charivarium.[29]Cotgrave’s Dictionarie, v.Charivaris.[30]r. Llewellynn Jewitt, in his excellent publication, theReliquary, for October, 1862, has given an interesting paper on the encaustic tiles found on this occasion, and on the conventual house to which they belonged.[31]See an interesting little book on this subject by M. Ed. de la Quérière, entitled“Recherches sur les Enseignes des Maisons Particulières,”8vo., Rouen, 1852, from which both the above examples are taken.[32]See my “Popular Treatises on Science written during the Middle Ages,” p. 107.[33]Alexander Neckam,De Naturis Rerum, lib. ii. c. 129.[34]See Girald. Cambr., Topog. Hiberniæ, dist. ii. cc. 21, 22; and the Itinerary of Wales, lib. ii. c. 11.[35]“Uti me consuesse tragœdi syrmate, histrionis crotalone ad trieterica orgia, aut mimi centunculo.”—Apuleius, Apolog.[36]See before,p. 41of the present volume.[37]See examples of these illuminations in my “History of Domestic Manners and Sentiments,” pp. 34, 35, 37, 65.[38]People in the middle ages were so fully conscious of the identity of the mediæval jougleur with the Roman mimus, that the Latin writers often use mimus to signify a jougleur, and the one is interpreted by the others in the vocabularies. Thus, in Latin-English vocabularies of the fifteenth century, we have—Hic joculator,Hic mimus,}Anglicejogulour.[39]In a volume entitled“Lateinische Gedichte des x. und xi. Jh.”8vo. Göttingen, 1838.[40]Many of the Fabliaux have been printed, but the two principal collections, and to which I shall chiefly refer in the text, are those of Barbazan, re-edited and much enlarged by Méon, 4 vols. 8vo., 1808, and of Méon, 2 vols. 8vo., 1823.[41]A collection of these short Latin stories was edited by the author of the present work, in a volume printed for the Percy Society in 1842.[42]In the mediæval Latin, the wordgoliardiawas introduced to express the profession of the goliard, and the verbgoliardizare, to signify the practice of it.[43]“Item, præcipimus ut omnes sacerdotes non permittant trutannos et alios vagos scholares, aut goliardos, cantare versus superSanctusetAngelus Deiin missis,”etc.—Concil. Trevir., an. 1227, ap. Marten. et Durand. Ampliss. Coll., vii. col. 117.[44]“Item, præcipimus quod clerici non sint joculatores, goliardi, seu bufones.”—Stat. Synod. Caduacensis, Ruthenensis, et Tutelensis Eccles. ap. Martene, Thes. Anecd., iv. col. 727.[45]“Clerici ... si in goliardia vel histrionatu per annum fuerint.”—Ib. col. 729. In one of the editions of this statute it is added, “after they have been warned three times.”[46]“Clerici ribaldi, maxime qui vulgo dicunturde famila Goliæ.”—Concil. Sen. ap. Concil., tom. ix. p. 578.[47]See my “Poems of Walter Mapes,” p. 70.[48]The Latin Poems commonly attributed to Walter Mapes, collected and edited by Thomas Wright, Esq., 4to., London, 1841.[49]“Anecdota Literaria; a Collection of Short Poems in English, Latin, and French, illustrative of the Literature and History of England in the Thirteenth Century.” Edited by Thomas Wright, Esq. 8vo., London, 1844.[50]In my edition I have collated no less than sixteen copies which occur among the MSS. in the British Museum, and in the libraries at Oxford and Cambridge, and there are, no doubt, many more.[51]Poems attributed to Walter Mapes, p. 73. The stanzas here quoted, with some others, were afterwards made up into a drinking song, which was rather popular in the fifteenth and sixteenth centuries.[52]“Gedichte des Mittelalters auf König Friedrich I. den Staufar, und aus seiner so wie der nächstfolgenden Zeit,”4to. Separate copies of this work were printed off and distributed among mediæval scholars.[53]“Carmina Burana. Lateinische und Deutsche Lieder und Gedichte einer Handschrift des XIII. Jahrhunderts aus Benedictbeurn auf der K. Bibliothek zu München.”8vo. Stuttgart, 1847.[54]“Early Mysteries and other Latin Poems of the Twelfth and Thirteenth Centuries,” edited by Thomas Wright, Esq. 8vo. London, 1838.[55]Introduction, p. xl.[56]“Reliquiæ Antiquæ. Scraps from Ancient Manuscripts, illustrating chiefly Early English Literature and the English Language.” Edited by Thomas Wright, Esq., and J. O. Halliwell, Esq. 2 vols. 8vo. Vol. i., London, 1841; vol. ii., 1843.[57]“Achille Jubinal, Jongleurs et Trouvères.”8vo., Paris, 1835, p. 34; and“Nouveau Recueil de Contes, Dits, Fabliaux,”&c 8vo., Paris, 1842. Vol. ii. p. 208. In the first instance M. Jubinal has given to this little poem the titleResveries, in the second,Fatrasies.[58]“Songs and Carols, now first printed from a Manuscript of the Fifteenth Century.” Edited by Thomas Wright, Esq. 8vo., London, 1847, p. 2.[59]Both these poems are printed in my “Early Mysteries, and other Latin Poems of the Twelfth and Thirteenth Centuries.” 8vo., London, 1838.[60]“Anecdota Literaria,” p. 49.[61]“Reliquæ Antiquæ,”vol. ii. p. 230.[62]I have published from the original manuscripts the mass of the political poetry composed in England during the middle ages in my three volumes—“The Political Songs of England, from the Reign of John to that of Edward II.” 4to., London, 1839 (issued by the Camden Society); and “Political Poems and Songs relating to English History, composed during the Period from the Accession of Edward III. to that of Richard III.” 8vo., vol i., London, 1859; vol. ii., 1861 (published by the Treasury, under the direction of the Master of the Rolls.)[63]“Receuil de Chants Historiques Français depuis le xii^e. jusqu’au xviii^e. Siècle, par Leroux de Lincy.... Première Série, xii^e., xiii^e., xiv^e, et xv^e., Siècles.”8vo., Paris, 1841.[64]“A Poem on the Times of Edward III., from a MS. preserved in the Library of St. Peter’s College, Cambridge.” Edited by the Rev. C. Hardwick. 8vo. London, 1849. (One of the publications of the Percy Society.)[65]“The Vision and the Creed of Piers Ploughman;” with Notes and a Glossary by Thomas Wright. 2 vols. 12mo. London, 1842. Second and revised edition, 2 vols. 12mo. London, 1856.[66]“Charlemagne, an Anglo-Norman Poem of the Twelfth Century, now first published, by Francisque Michel,” 12mo., 8vo., London, 1836.[67]“Geschichte der Hofnarren, von Karl Friedrich Flögel,”8vo. Liegnitz und Leipzig, 1789.[68]The words of this charter, as given by Rigollot, are:—“Joannes, D G., etc. Sciatis nos dedisse et præsenti charta confirmasse Willelmo Picol, follo nostro, Fontem Ossanæ, cum omnibus pertinenciis suis, habendum et tenendum sibi et hæredibus suis, faciendo inde nobis annuatim servitium unius folli quoad vixerit; et post ejus decessum hæredes sui eam tenebunt, et per servitium unius paris calcarium deauratorum nobis annuatim reddendo. Quare volumus et firmiter præcipimus quod prædictius Piculphus et hæredes sui habeant et teneant in perpetuum, bene et in pace, libere et quiete, prædictam terram.”—Rigollot, Monnaies inconnues des Evêques des Innocens, etc., 8vo., Paris, 1837.[69]For the drawings of these interesting carvings from the Cornish churches, I am indebted to the kindness of Mr. J. T. Blight, the author of an extremely pleasing and useful guide to the beauties of a well-known district of Cornwall, entitled “A Week at the Land’s End.”[70]“A festis follorum ubi baculus accipitur omnino abstineatur.... Idem fortius monachis et monialibus prohibemus.”[71]On the subject of all these burlesques and popular feasts and ceremonies, the reader may consult Flögel’s“Geschichte des Grotesk-Komischen,”of which a new and enlarged edition has recently been given by Dr. Friedrich W. Ebeling, 8vo., Leipzig, 1862. Much interesting information on the subject was collected by Du Tilliot, in his“Memoires pour servir à l’Histoire de la Fête des Fous,”8vo., Lausanne, 1751. See also Rigollot, in the work quoted above, and a popular article on the same subject will be found in my “Archæological Album.”[72]“Monnaies inconnues des Evêques des Innocens, des Fous,” &c., Paris, 1837.[73]This earliest known version is in German verse, and was printed in 1515. An English version, in prose, was printed in 1620, and is reprinted in Thoms’s “Collection of Early Prose Romances.”[74]The title of this English translation is, “Here beginneht a merye Jest of a man that was called Howleglas, and of many marveylous thinges and jestes that he dyd in his lyfe, in Eastlande, and in many other places.” It was printed by Coplande, supposed about 1520. An edition of Eulenspiegel in English, by Mr. Kenneth Mackenzie, has recently been published by Messrs. Trübner & Co., of Paternoster Row.[75]It was reprinted by Von der Hagen, in a little volume entitled“Narrenbuch; herausgegeben durch Friedrich Heinrich von der Hagen.”12mo., Halle, 1811.[76]I am obliged to pass over this part of the subject very rapidly. For the history of that remarkable book, the “Cent Nouvelles Nouvelles,” I would refer the reader to the preface to my own edition,“Les Cent Nouvelles Nouvelles, publiées d’après le seul manuscrit connu, avec Introduction et Notes, par M. Thomas Wright.”2 vols, 12mo., Paris, 1858.[77]A neat and useful edition of these two jest-books, with the other most curious books of the same class, published during the Elizabethan period, has recently been published in two volumes, by Mr. W. C. Hazlitt.[78]“Infinitus jam erat numerus qui victum ex Lutheranis libris quæritantes, in speciem bibliopolarum longe lateque per Germaniæ provincias vagabantur.”—Eck., p. 58.[79]Several editions of the writings of Hrotsvitha, texts and translations, have been published of late years both in Germany and in France, of which I may point out the following as most useful and complete—“Théatre de Hrotsvitha, Religieuse Allemande du x^e siècle....par Charles Magnin,”8vo., Paris, 1845;“Hrotsvithæ Gandeshemensis, virginis et monialis Germanicæ, gente Saxonica ortæ, Comœdias sex, ad fidem codicis Emmeranensis typis expressas edidit.... J. Benedixen,”16mo., Lubecæ, 1857;“Die Werke der Hrotsvitha: Herausgegeben von Dr. K. A. Barack,”8vo., Nürnberg, 1858.[80]Seep. 191of the present volume.[81]This singular composition was published with notes by M. de Montaiglon, in a Parisian journal entitled,“L’Amateur de Livres,”in 1849, under the title of“Fragment d’un Dialogue Latin du ix^e siècle entre Terence et un Bouffon.”A few separate copies were printed, of which I possess one.[82]To judge by the number of copies found in manuscripts, especially of the “Geta,” these dramatic poems must have enjoyed considerable popularity. The “Geta” and the “Querulus” were published in a volume entitled,“Vitalis Blesensis Amphitryon et Aulularia Eclogæ. Edidit Fridericus Osannus, Professor Gisensis,”8vo., Darmstadt, 1836. The “Geta” and the “Babio” are included in my “Early Mysteries, and other Latin Poems of the Twelfth and Thirteenth Centuries.”[83]“Hilarii Versus et Ludi,”8vo., Paris, 1835. Edited by M. Champollion Figeac.[84]“Interdum ludi fiunt in ecclesiis theatrales,” &c—Decret Gregorii,lib. iii. tit. i.[85]“Item non permittant sacerdotes ludos theatrales fieri in ecclesia et alios ludos inhonestos.”[86]“Juniores fratres in Heresburg sacram habuere comœdiam de Josepho vendito et exalto, quod vero reliqui ordinis nostri prælati male interpretati sunt.”—Leibn., Script. Brunsv.tom. ii. p. 311.[87]The acts of this synod of Worms are printed in Harzheim, tom. iv. p. 258.[88]The editions of the three principal collections of English mysteries are—1. “The Towneley Mysteries,” 8vo., London, 1836, published by the Surtees Society; 2. “Ludus Coventriæ: a Collection of Mysteries, formerly represented at Coventry on the Feast of Corpus Christi,” edited by James Orchard Halliwell, Esq., 8vo., London, 1841, published by the Shakespeare Society; 3. “The Chester Plays: a Collection of Mysteries founded upon Scriptural Subjects, and formerly represented by the Trades of Chester at Whitsuntide,” edited by Thomas Wright, Esq., 2 vols. 8vo., London, 1843 and 1847, published by the Shakespeare Society.[89]“Hic transit Noe cum familia sua pro navi, quo exeunte,locum interludii subintretstatim Lameth, conductus ab adolescente, et dicens,”&c.[90The most remarkable collection of these early farces, sotties, and moralities yet known, was found accidentally in 1845, and is now in the British Museum. These were all edited in Paris as the first three volumes of a work in ten, entitled“Ancien Théatre François, ou Collection des Ouvrages dramatiques les plus remarquable depuis les Mystères jusqu’à Corneille, publié ... par M. Viollet le Duc,”12mo., Paris, 1854. It is right to state that these three volumes were edited, not by M. Viollet le Duc, but by a scholar better known for his learning in the older French literature, M. Anatole de Montaiglon.[91]This is the date fixed by Meaume, in his excellent work on Callot, entitled“Recherches sur la Vie et les Ouvrages de Jacques Callot,”2 tom. 8vo., 1860.[92]Meaume appears to be doubtful of the meaning of this word; a friend has pointed out to me the correction. It was the title of a song, so called because the burden was an imitation of the crowing of a cock, the singer mimicking also the action of the bird. When Bacchus, in Redi’s “Bacco in Toscana,” is beginning to feel the exhilarating effects of his critical investigation of the Tuscan wines, he calls upon Ariadne to sing to him“sulla mandola la Cucurucù,”“on the mandola the Cucurucu.” A note fully explains the word as we have stated it—“Canzone cosi detta, perchè in esse si replica molte volte la voce del gallo; e cantandola si fanno atti e moti simili a quegli di esso gallo.”[93]The materials for the history of Della Bella and his works, will be found in a carefully compiled volume, by C. A. Jombert, entitled,“Essai d’un Catalogue de l’Oeuvre d’Etienne de la Bella.”8vo., Paris, 1772.[94]“Pasquillorum Tomi duo.”Eleutheropoli, MDXLIIII.[95]Pasquil and Pasquin became, during the latter part of the sixteenth and the whole of the seventeenth centuries, a well-known name in French and English literature. In English popular literature he was turned into a jester, and a book was published in 1604 under the title “Pasquil’s Jests; with the Merriments of Mother Bunch. Wittie, pleasant, and delightfull.”[96]The great authority on the history of Macaronic literature is my excellent friend Monsieur Octave Delepierre, and I will simply refer the reader to his two valuable publications,“Macaronéana, ou Mélanges de Littérature Macaronique des differents Peuples de l’Europe,”8vo., Paris, 1852; and“Macaronéana,”4to., 1863; the latter printed for the Philobiblon Club.[97]This style differs entirely from the macaronic. It consists merely in using the words of the Latin language with the forms and construction of the vulgar tongue, as illustrated by the directions of the professor who, lecturing in the schools, was interrupted by the entrance of a dog, and shouted out to the doorkeeper,Verte canem ex, meaning thereby that he should “turn the dog out.” It was perhaps from this, or some similar occurrence, that this barbarous Latin gained the name of dog-Latin. The French call itLatin de cuisine.[98]A cheap and convenient edition of the“Cymbalum Mundi,”edited by the Bibliophile Jacob (Paul Lacroix), was published in Paris in 1841. I may here state that similar editions of the principal French satirists of the sixteenth century have been printed during the last twenty-five years.[99]i.e., was drunk.[100]Knightsbridge, as the principal entrance to London from the west, was full of inns.[101]The method of engraving called mezzotinto was very generally adopted in England in the earlier part of the last century for prints and caricatures. It was continued to rather a late period by the publishing house of Carrington Bowles.[102]It was translated into English by Richard Haydocke, under the title of “The Artes of Curious Paintinge, Carvinge, Buildinge,” fol. 1598. This is one of the earliest works on art in the English language.[103]His death is usually placed, but erroneously, in 1732.[104]Sandby etched landscapes on steel, and in aquatinta, the latter by a method peculiarly his own, besides painting in oil and opaque colours. But his fame restsmainlyon being the founder of the English school ofwater-colour painting, since he was the first to show the capability of that material to produce finished pictures, and to lead the way to the perfection in effect and colour to which that branch of art has since attained.[105]In the library of the British Museum there is a collection of John Kay’s works bound in two volumes quarto, with a title and table of contents in manuscript, but whether it is one of a few copies intended for publication, or whether it is merely the collection of some individual, I am not prepared to say. It contains 343 plates, which are stated to be all Kay’s works down to the year 1813, when this collection was made. “The Craft in Danger” is not among them. I have before me a smaller, but a very choice selection, of Kay’s caricatures, the loan of which I owe to the kindness of Mr. John Camden Hotten, of Piccadilly. I am indebted to Mr. Hotten for many courtesies of this description, and especially for the use of a very valuable collection of caricatures of the latter part of the eighteenth century and earlier part of the present, mounted in four large folio volumes, which has been of much use to me.

[1]Plin. Hist. Nat., lib. xxxv. c. 8.

[2]Panoska Terracotten des Museums Berlin, pl. lxi. p. 154.

[3]Given in Panofka,“Antiques du Cabinet Pourtalès,”pl. x.

[4]Arnobius (contra Gentes), lib. iv. p. 150.Carmen malum conscribere, quo fama alterius coinquinatur et vita, decemviralibus scitis evadere noluistis impune: ac ne vestras aures convitio aliquis petulantiore pulsaret, de atrocibus formulas constituistis injuriis. Soli dii sunt apud vos superi inhonorati, contemtibiles, viles: in quos jus est vobis datum quæ quisque voluerit dicere turpitudinem, jacere quas libido confinxerit atque excogitaverit formas.

[5]Pliny, Hist. Nat., lib. xxxv. c. 40.

[6]Pliny, Hist. Nat., lib. xxxv. c. 40.

[7]Engraved by Ch. Lenormant et J. de Witt,“Elite des Monuments Céramographiques,”pl. xciv.

[8]These intaglios are engraved in the Museum Florentinum of Gorius, vol. ii. pl. 30. On one of them the figures are reversed.

[9]It is said to have received its Latin name from this circumstance,persona, a personando. See Aulus Gellius, Noct. Att., lib. v. c. 7.

[10]“Simulacrum ... quod opponitur faciei ad terrendos parvos.”(Ugutio, ap. Ducange, v.Masca.)

[11]See, for allusions to the private employment of these performances, Pliny, Epist. i. 15, and ix. 36.

[12]Quintilian says, “Satira quidem tota nostra est.” De Instit. Orator., lib. x. c. 1.

[13]ἐπί των καπηλίων. Problem. Aristotelic. Sec. x. 7.

[14]On this subject, see my “History of Domestic Manners and Sentiments,” p. 65. The dancing bear appears to have been a favourite performer among the Germans at a very early period.

[15]Per totam noctem cantabantur hic nefaria et a cantatoribus saltabatur.Augustini Serm. 311, part v.

[16]Noctes pervigiles cum ebrietate, scurrilitate, vel canticis.See the Capitulary in Labbei Concil., vol. v.

[17]Ut populi.....saltationibus et turpibus invigilant canticis.

[18]The reader is referred, for further information on this subject, to my “History of Domestic Manners and Sentiments,” pp. 33-39.

[19]This curious Latin poem was printed by Grimm and Schmeller, in theirLateinische Gedichte des x. und xi. Jh., p. 129.

[20]On the character of the nuns among the Anglo-Saxons, and indeed of the inmates of the monastic houses generally, I would refer my readers to the excellent and interesting volume by Mr. John Thrupp, “The Anglo-Saxon Home: a History of the Domestic Institutions and Customs of England from the fifth to the eleventh century.” London, 1862.

[21]These will be found in M. Edélestand du Méril’sPoésies Populaires Latines antérieures au douzième siècle, pp. 275, 276.

[22]This, and the metrical story next referred to, were printed in the“Altdeutsche Blätter,”edited by Moriz Haupt and Heinrich Hoffmann, vol. i. pp. 390, 392, to whom I communicated them from a manuscript in the University Library at Cambridge.

[23]The text of this singular composition, with a full account of the various forms in which it was published, will be found in M. du Méril’s“Poésies Populaires Latines antérieures au douzième siècle,”p. 193.

[24]“Formam quandam villosam, hispidam, et hirsutam, adeoque enormiter deformem.”Girald. Camb., Itiner. Camb., lib. i. c. 5.

[25]An engraving of this scene, modernised in character, is given in Nichols’s “Leicestershire,” vol. i. plate 43.

[26]The Latin text of this and some others of the fables of Odo de Cirington will be found in my “Selection of Latin Stories,” pp. 50-52, 55-58, and 80.

[27]See the dissertation by M. Paulin Paris, published in his nice popular modern abridgment of the French romance, published in 1861, under the title“Les Aventures de Maître Renart et d’Ysengrin son compère.”On the debated question of the origin of the Romance, see the learned and able work by Jonckbloet, 8vo., Groningue, 1863.

[28]“Insultationes, clamores, sonos, et alios tumultus, in secundis et tertiis quorundam nuptiis, quos charivarium vulgo appellant, propter multa et gravia incommoda, prohibemus sub pœna excommunitationis.”—Ducange, v.Charivarium.

[29]Cotgrave’s Dictionarie, v.Charivaris.

[30]r. Llewellynn Jewitt, in his excellent publication, theReliquary, for October, 1862, has given an interesting paper on the encaustic tiles found on this occasion, and on the conventual house to which they belonged.

[31]See an interesting little book on this subject by M. Ed. de la Quérière, entitled“Recherches sur les Enseignes des Maisons Particulières,”8vo., Rouen, 1852, from which both the above examples are taken.

[32]See my “Popular Treatises on Science written during the Middle Ages,” p. 107.

[33]Alexander Neckam,De Naturis Rerum, lib. ii. c. 129.

[34]See Girald. Cambr., Topog. Hiberniæ, dist. ii. cc. 21, 22; and the Itinerary of Wales, lib. ii. c. 11.

[35]“Uti me consuesse tragœdi syrmate, histrionis crotalone ad trieterica orgia, aut mimi centunculo.”—Apuleius, Apolog.

[36]See before,p. 41of the present volume.

[37]See examples of these illuminations in my “History of Domestic Manners and Sentiments,” pp. 34, 35, 37, 65.

[38]People in the middle ages were so fully conscious of the identity of the mediæval jougleur with the Roman mimus, that the Latin writers often use mimus to signify a jougleur, and the one is interpreted by the others in the vocabularies. Thus, in Latin-English vocabularies of the fifteenth century, we have—

Hic joculator,Hic mimus,}Anglicejogulour.

[39]In a volume entitled“Lateinische Gedichte des x. und xi. Jh.”8vo. Göttingen, 1838.

[40]Many of the Fabliaux have been printed, but the two principal collections, and to which I shall chiefly refer in the text, are those of Barbazan, re-edited and much enlarged by Méon, 4 vols. 8vo., 1808, and of Méon, 2 vols. 8vo., 1823.

[41]A collection of these short Latin stories was edited by the author of the present work, in a volume printed for the Percy Society in 1842.

[42]In the mediæval Latin, the wordgoliardiawas introduced to express the profession of the goliard, and the verbgoliardizare, to signify the practice of it.

[43]“Item, præcipimus ut omnes sacerdotes non permittant trutannos et alios vagos scholares, aut goliardos, cantare versus superSanctusetAngelus Deiin missis,”etc.—Concil. Trevir., an. 1227, ap. Marten. et Durand. Ampliss. Coll., vii. col. 117.

[44]“Item, præcipimus quod clerici non sint joculatores, goliardi, seu bufones.”—Stat. Synod. Caduacensis, Ruthenensis, et Tutelensis Eccles. ap. Martene, Thes. Anecd., iv. col. 727.

[45]“Clerici ... si in goliardia vel histrionatu per annum fuerint.”—Ib. col. 729. In one of the editions of this statute it is added, “after they have been warned three times.”

[46]“Clerici ribaldi, maxime qui vulgo dicunturde famila Goliæ.”—Concil. Sen. ap. Concil., tom. ix. p. 578.

[47]See my “Poems of Walter Mapes,” p. 70.

[48]The Latin Poems commonly attributed to Walter Mapes, collected and edited by Thomas Wright, Esq., 4to., London, 1841.

[49]“Anecdota Literaria; a Collection of Short Poems in English, Latin, and French, illustrative of the Literature and History of England in the Thirteenth Century.” Edited by Thomas Wright, Esq. 8vo., London, 1844.

[50]In my edition I have collated no less than sixteen copies which occur among the MSS. in the British Museum, and in the libraries at Oxford and Cambridge, and there are, no doubt, many more.

[51]Poems attributed to Walter Mapes, p. 73. The stanzas here quoted, with some others, were afterwards made up into a drinking song, which was rather popular in the fifteenth and sixteenth centuries.

[52]“Gedichte des Mittelalters auf König Friedrich I. den Staufar, und aus seiner so wie der nächstfolgenden Zeit,”4to. Separate copies of this work were printed off and distributed among mediæval scholars.

[53]“Carmina Burana. Lateinische und Deutsche Lieder und Gedichte einer Handschrift des XIII. Jahrhunderts aus Benedictbeurn auf der K. Bibliothek zu München.”8vo. Stuttgart, 1847.

[54]“Early Mysteries and other Latin Poems of the Twelfth and Thirteenth Centuries,” edited by Thomas Wright, Esq. 8vo. London, 1838.

[55]Introduction, p. xl.

[56]“Reliquiæ Antiquæ. Scraps from Ancient Manuscripts, illustrating chiefly Early English Literature and the English Language.” Edited by Thomas Wright, Esq., and J. O. Halliwell, Esq. 2 vols. 8vo. Vol. i., London, 1841; vol. ii., 1843.

[57]“Achille Jubinal, Jongleurs et Trouvères.”8vo., Paris, 1835, p. 34; and“Nouveau Recueil de Contes, Dits, Fabliaux,”&c 8vo., Paris, 1842. Vol. ii. p. 208. In the first instance M. Jubinal has given to this little poem the titleResveries, in the second,Fatrasies.

[58]“Songs and Carols, now first printed from a Manuscript of the Fifteenth Century.” Edited by Thomas Wright, Esq. 8vo., London, 1847, p. 2.

[59]Both these poems are printed in my “Early Mysteries, and other Latin Poems of the Twelfth and Thirteenth Centuries.” 8vo., London, 1838.

[60]“Anecdota Literaria,” p. 49.

[61]“Reliquæ Antiquæ,”vol. ii. p. 230.

[62]I have published from the original manuscripts the mass of the political poetry composed in England during the middle ages in my three volumes—“The Political Songs of England, from the Reign of John to that of Edward II.” 4to., London, 1839 (issued by the Camden Society); and “Political Poems and Songs relating to English History, composed during the Period from the Accession of Edward III. to that of Richard III.” 8vo., vol i., London, 1859; vol. ii., 1861 (published by the Treasury, under the direction of the Master of the Rolls.)

[63]“Receuil de Chants Historiques Français depuis le xii^e. jusqu’au xviii^e. Siècle, par Leroux de Lincy.... Première Série, xii^e., xiii^e., xiv^e, et xv^e., Siècles.”8vo., Paris, 1841.

[64]“A Poem on the Times of Edward III., from a MS. preserved in the Library of St. Peter’s College, Cambridge.” Edited by the Rev. C. Hardwick. 8vo. London, 1849. (One of the publications of the Percy Society.)

[65]“The Vision and the Creed of Piers Ploughman;” with Notes and a Glossary by Thomas Wright. 2 vols. 12mo. London, 1842. Second and revised edition, 2 vols. 12mo. London, 1856.

[66]“Charlemagne, an Anglo-Norman Poem of the Twelfth Century, now first published, by Francisque Michel,” 12mo., 8vo., London, 1836.

[67]“Geschichte der Hofnarren, von Karl Friedrich Flögel,”8vo. Liegnitz und Leipzig, 1789.

[68]The words of this charter, as given by Rigollot, are:—“Joannes, D G., etc. Sciatis nos dedisse et præsenti charta confirmasse Willelmo Picol, follo nostro, Fontem Ossanæ, cum omnibus pertinenciis suis, habendum et tenendum sibi et hæredibus suis, faciendo inde nobis annuatim servitium unius folli quoad vixerit; et post ejus decessum hæredes sui eam tenebunt, et per servitium unius paris calcarium deauratorum nobis annuatim reddendo. Quare volumus et firmiter præcipimus quod prædictius Piculphus et hæredes sui habeant et teneant in perpetuum, bene et in pace, libere et quiete, prædictam terram.”—Rigollot, Monnaies inconnues des Evêques des Innocens, etc., 8vo., Paris, 1837.

[69]For the drawings of these interesting carvings from the Cornish churches, I am indebted to the kindness of Mr. J. T. Blight, the author of an extremely pleasing and useful guide to the beauties of a well-known district of Cornwall, entitled “A Week at the Land’s End.”

[70]“A festis follorum ubi baculus accipitur omnino abstineatur.... Idem fortius monachis et monialibus prohibemus.”

[71]On the subject of all these burlesques and popular feasts and ceremonies, the reader may consult Flögel’s“Geschichte des Grotesk-Komischen,”of which a new and enlarged edition has recently been given by Dr. Friedrich W. Ebeling, 8vo., Leipzig, 1862. Much interesting information on the subject was collected by Du Tilliot, in his“Memoires pour servir à l’Histoire de la Fête des Fous,”8vo., Lausanne, 1751. See also Rigollot, in the work quoted above, and a popular article on the same subject will be found in my “Archæological Album.”

[72]“Monnaies inconnues des Evêques des Innocens, des Fous,” &c., Paris, 1837.

[73]This earliest known version is in German verse, and was printed in 1515. An English version, in prose, was printed in 1620, and is reprinted in Thoms’s “Collection of Early Prose Romances.”

[74]The title of this English translation is, “Here beginneht a merye Jest of a man that was called Howleglas, and of many marveylous thinges and jestes that he dyd in his lyfe, in Eastlande, and in many other places.” It was printed by Coplande, supposed about 1520. An edition of Eulenspiegel in English, by Mr. Kenneth Mackenzie, has recently been published by Messrs. Trübner & Co., of Paternoster Row.

[75]It was reprinted by Von der Hagen, in a little volume entitled“Narrenbuch; herausgegeben durch Friedrich Heinrich von der Hagen.”12mo., Halle, 1811.

[76]I am obliged to pass over this part of the subject very rapidly. For the history of that remarkable book, the “Cent Nouvelles Nouvelles,” I would refer the reader to the preface to my own edition,“Les Cent Nouvelles Nouvelles, publiées d’après le seul manuscrit connu, avec Introduction et Notes, par M. Thomas Wright.”2 vols, 12mo., Paris, 1858.

[77]A neat and useful edition of these two jest-books, with the other most curious books of the same class, published during the Elizabethan period, has recently been published in two volumes, by Mr. W. C. Hazlitt.

[78]“Infinitus jam erat numerus qui victum ex Lutheranis libris quæritantes, in speciem bibliopolarum longe lateque per Germaniæ provincias vagabantur.”—Eck., p. 58.

[79]Several editions of the writings of Hrotsvitha, texts and translations, have been published of late years both in Germany and in France, of which I may point out the following as most useful and complete—“Théatre de Hrotsvitha, Religieuse Allemande du x^e siècle....par Charles Magnin,”8vo., Paris, 1845;“Hrotsvithæ Gandeshemensis, virginis et monialis Germanicæ, gente Saxonica ortæ, Comœdias sex, ad fidem codicis Emmeranensis typis expressas edidit.... J. Benedixen,”16mo., Lubecæ, 1857;“Die Werke der Hrotsvitha: Herausgegeben von Dr. K. A. Barack,”8vo., Nürnberg, 1858.

[80]Seep. 191of the present volume.

[81]This singular composition was published with notes by M. de Montaiglon, in a Parisian journal entitled,“L’Amateur de Livres,”in 1849, under the title of“Fragment d’un Dialogue Latin du ix^e siècle entre Terence et un Bouffon.”A few separate copies were printed, of which I possess one.

[82]To judge by the number of copies found in manuscripts, especially of the “Geta,” these dramatic poems must have enjoyed considerable popularity. The “Geta” and the “Querulus” were published in a volume entitled,“Vitalis Blesensis Amphitryon et Aulularia Eclogæ. Edidit Fridericus Osannus, Professor Gisensis,”8vo., Darmstadt, 1836. The “Geta” and the “Babio” are included in my “Early Mysteries, and other Latin Poems of the Twelfth and Thirteenth Centuries.”

[83]“Hilarii Versus et Ludi,”8vo., Paris, 1835. Edited by M. Champollion Figeac.

[84]“Interdum ludi fiunt in ecclesiis theatrales,” &c—Decret Gregorii,lib. iii. tit. i.

[85]“Item non permittant sacerdotes ludos theatrales fieri in ecclesia et alios ludos inhonestos.”

[86]“Juniores fratres in Heresburg sacram habuere comœdiam de Josepho vendito et exalto, quod vero reliqui ordinis nostri prælati male interpretati sunt.”—Leibn., Script. Brunsv.tom. ii. p. 311.

[87]The acts of this synod of Worms are printed in Harzheim, tom. iv. p. 258.

[88]The editions of the three principal collections of English mysteries are—1. “The Towneley Mysteries,” 8vo., London, 1836, published by the Surtees Society; 2. “Ludus Coventriæ: a Collection of Mysteries, formerly represented at Coventry on the Feast of Corpus Christi,” edited by James Orchard Halliwell, Esq., 8vo., London, 1841, published by the Shakespeare Society; 3. “The Chester Plays: a Collection of Mysteries founded upon Scriptural Subjects, and formerly represented by the Trades of Chester at Whitsuntide,” edited by Thomas Wright, Esq., 2 vols. 8vo., London, 1843 and 1847, published by the Shakespeare Society.

[89]“Hic transit Noe cum familia sua pro navi, quo exeunte,locum interludii subintretstatim Lameth, conductus ab adolescente, et dicens,”&c.

[90The most remarkable collection of these early farces, sotties, and moralities yet known, was found accidentally in 1845, and is now in the British Museum. These were all edited in Paris as the first three volumes of a work in ten, entitled“Ancien Théatre François, ou Collection des Ouvrages dramatiques les plus remarquable depuis les Mystères jusqu’à Corneille, publié ... par M. Viollet le Duc,”12mo., Paris, 1854. It is right to state that these three volumes were edited, not by M. Viollet le Duc, but by a scholar better known for his learning in the older French literature, M. Anatole de Montaiglon.

[91]This is the date fixed by Meaume, in his excellent work on Callot, entitled“Recherches sur la Vie et les Ouvrages de Jacques Callot,”2 tom. 8vo., 1860.

[92]Meaume appears to be doubtful of the meaning of this word; a friend has pointed out to me the correction. It was the title of a song, so called because the burden was an imitation of the crowing of a cock, the singer mimicking also the action of the bird. When Bacchus, in Redi’s “Bacco in Toscana,” is beginning to feel the exhilarating effects of his critical investigation of the Tuscan wines, he calls upon Ariadne to sing to him“sulla mandola la Cucurucù,”“on the mandola the Cucurucu.” A note fully explains the word as we have stated it—“Canzone cosi detta, perchè in esse si replica molte volte la voce del gallo; e cantandola si fanno atti e moti simili a quegli di esso gallo.”

[93]The materials for the history of Della Bella and his works, will be found in a carefully compiled volume, by C. A. Jombert, entitled,“Essai d’un Catalogue de l’Oeuvre d’Etienne de la Bella.”8vo., Paris, 1772.

[94]“Pasquillorum Tomi duo.”Eleutheropoli, MDXLIIII.

[95]Pasquil and Pasquin became, during the latter part of the sixteenth and the whole of the seventeenth centuries, a well-known name in French and English literature. In English popular literature he was turned into a jester, and a book was published in 1604 under the title “Pasquil’s Jests; with the Merriments of Mother Bunch. Wittie, pleasant, and delightfull.”

[96]The great authority on the history of Macaronic literature is my excellent friend Monsieur Octave Delepierre, and I will simply refer the reader to his two valuable publications,“Macaronéana, ou Mélanges de Littérature Macaronique des differents Peuples de l’Europe,”8vo., Paris, 1852; and“Macaronéana,”4to., 1863; the latter printed for the Philobiblon Club.

[97]This style differs entirely from the macaronic. It consists merely in using the words of the Latin language with the forms and construction of the vulgar tongue, as illustrated by the directions of the professor who, lecturing in the schools, was interrupted by the entrance of a dog, and shouted out to the doorkeeper,Verte canem ex, meaning thereby that he should “turn the dog out.” It was perhaps from this, or some similar occurrence, that this barbarous Latin gained the name of dog-Latin. The French call itLatin de cuisine.

[98]A cheap and convenient edition of the“Cymbalum Mundi,”edited by the Bibliophile Jacob (Paul Lacroix), was published in Paris in 1841. I may here state that similar editions of the principal French satirists of the sixteenth century have been printed during the last twenty-five years.

[99]i.e., was drunk.

[100]Knightsbridge, as the principal entrance to London from the west, was full of inns.

[101]The method of engraving called mezzotinto was very generally adopted in England in the earlier part of the last century for prints and caricatures. It was continued to rather a late period by the publishing house of Carrington Bowles.

[102]It was translated into English by Richard Haydocke, under the title of “The Artes of Curious Paintinge, Carvinge, Buildinge,” fol. 1598. This is one of the earliest works on art in the English language.

[103]His death is usually placed, but erroneously, in 1732.

[104]Sandby etched landscapes on steel, and in aquatinta, the latter by a method peculiarly his own, besides painting in oil and opaque colours. But his fame restsmainlyon being the founder of the English school ofwater-colour painting, since he was the first to show the capability of that material to produce finished pictures, and to lead the way to the perfection in effect and colour to which that branch of art has since attained.

[105]In the library of the British Museum there is a collection of John Kay’s works bound in two volumes quarto, with a title and table of contents in manuscript, but whether it is one of a few copies intended for publication, or whether it is merely the collection of some individual, I am not prepared to say. It contains 343 plates, which are stated to be all Kay’s works down to the year 1813, when this collection was made. “The Craft in Danger” is not among them. I have before me a smaller, but a very choice selection, of Kay’s caricatures, the loan of which I owe to the kindness of Mr. John Camden Hotten, of Piccadilly. I am indebted to Mr. Hotten for many courtesies of this description, and especially for the use of a very valuable collection of caricatures of the latter part of the eighteenth century and earlier part of the present, mounted in four large folio volumes, which has been of much use to me.

Back to Index Next