JOHN STOWE.

"O true nobilitie, and rightly grac'dWith all the jewels that on thee depend,Where goodnesse doth with greatnesse live embrac'd,And outward stiles, on inward worth attend.Where ample lands, in ample hands are plac'dAnd ancient deeds, with ancient coats descend:Where noble bloud combin'd with noble spiritForefathers fames, doth with their formes inherit."Where ancestors examples are perus'dNot in large tomes, or costly tombs alone,But in their heires: and being dayly us'dAre (like their robes) more honourable growne,Where Loyalty with Piety is infus'd,And publique rights are cherish'd w'th their owne;Where worth still finds respect, good friend, good word,Desart, reward. And such isRicot'sLord."But what make I (vaine voyce) in midst of allThe Quires that have already sung the fameOf this great House, and those that henceforth shall(As that will last) for ever sing the same.But, if on me, my garland instly fall,I justly owe my musique to this name.For he unlawfully usurps the BayesThat has not sung in nobleNorrey'sprayse."In playne (my honour'd Lord) I was not borne,Audacious vowes, or forraigne legs to use,Nature denyed my outside to adorne,And I, of art to learne outsides refuse.Yet haveing of them both, enough to scorneSilence, & vulgar prayse, this humble museAnd her meane favourite; at yo'r comandChose in this kinde, to kisse your noble hand."

"O true nobilitie, and rightly grac'd

With all the jewels that on thee depend,

Where goodnesse doth with greatnesse live embrac'd,

And outward stiles, on inward worth attend.

Where ample lands, in ample hands are plac'd

And ancient deeds, with ancient coats descend:

Where noble bloud combin'd with noble spirit

Forefathers fames, doth with their formes inherit.

"Where ancestors examples are perus'dNot in large tomes, or costly tombs alone,But in their heires: and being dayly us'dAre (like their robes) more honourable growne,Where Loyalty with Piety is infus'd,And publique rights are cherish'd w'th their owne;Where worth still finds respect, good friend, good word,Desart, reward. And such isRicot'sLord.

"Where ancestors examples are perus'd

Not in large tomes, or costly tombs alone,

But in their heires: and being dayly us'd

Are (like their robes) more honourable growne,

Where Loyalty with Piety is infus'd,

And publique rights are cherish'd w'th their owne;

Where worth still finds respect, good friend, good word,

Desart, reward. And such isRicot'sLord.

"But what make I (vaine voyce) in midst of allThe Quires that have already sung the fameOf this great House, and those that henceforth shall(As that will last) for ever sing the same.But, if on me, my garland instly fall,I justly owe my musique to this name.For he unlawfully usurps the BayesThat has not sung in nobleNorrey'sprayse.

"But what make I (vaine voyce) in midst of all

The Quires that have already sung the fame

Of this great House, and those that henceforth shall

(As that will last) for ever sing the same.

But, if on me, my garland instly fall,

I justly owe my musique to this name.

For he unlawfully usurps the Bayes

That has not sung in nobleNorrey'sprayse.

"In playne (my honour'd Lord) I was not borne,Audacious vowes, or forraigne legs to use,Nature denyed my outside to adorne,And I, of art to learne outsides refuse.Yet haveing of them both, enough to scorneSilence, & vulgar prayse, this humble museAnd her meane favourite; at yo'r comandChose in this kinde, to kisse your noble hand."

"In playne (my honour'd Lord) I was not borne,

Audacious vowes, or forraigne legs to use,

Nature denyed my outside to adorne,

And I, of art to learne outsides refuse.

Yet haveing of them both, enough to scorne

Silence, & vulgar prayse, this humble muse

And her meane favourite; at yo'r comand

Chose in this kinde, to kisse your noble hand."

His Polyhymnia is dedicated to the sister of this person, the Lady Bridget, Countess of Lindsey, and Baroness of Eresbie and of Ricot. Besides the "Anglers' Song" made at Walton's request, and the before-mentioned two songs, which are given at length in the Appendix to theComplete Angler, p. 420., Sir H. Nicolas's edit., besides these, and the verses "on William Shakespeare, who died in April, 1616," sometimes called "Basse his Elegie on Shakespeare," which appear in the edition of Shakespeare's Poems of 1640, 8vo., and are reprinted in Malone's edition of his Plays, vol. i. p. 470.: another poem by William Basse will be found in the collection entitledAnnalia Dubrensia, upon the Yearely Celebration of Mr. Robert Dover's Olympick Games upon Cotswold Hills, 4to. 1636. This consists of ten stanzas, of eight lines each, "To the noble and fayre Assemblies, the harmonious concourse of Muses, and their Ioviall entertainer, my right generous Friend, Master Robert Dover, upon Cotswold." Basse was also, as Mr. Collier remarks, the author of a poem, which I have never seen, calledSword and Buckler, or Serving Man's Defence, in six-line stanzas, 4to. Lond., imprinted in 1602. A copy of this was sold in Steevens's sale, No. 767., and is now among "Malone's Collection of Early Poetry" in the Bodleian Library at Oxford. And, according to Ritson, he wrote another work, published in the same year, viz.Three Pastorall Elegies of Anander, Anytor and Muridella, entered to Joseph Barnes, 28 May, 1692, of which I am not aware that any copy is now in existence. These, with the addition ofGreat Brittaines Sunnes-set, bewailed with a Shower of Teares, at Oxford, printed by Joseph Barnes, 1613, the fragment of which is in the possession of Mr. Collier, appear, as far as I can yet ascertain, to be the only known publications of William Basse, with his name attached to them in full. Other works, however, have been attributed to him from the similarity of the initials,—but most of them probably without much foundation; viz. 1.Scacchia Ludus: Chesse-play: a poetical translation of Vida's poem at the end ofLudus Sacchiæ, Chesse-Play, by W.B. 4to. Lond. 1597; by Ritson. 2.A Helpe to Discourse; or a Miscelany of Merriment, by W.B. and E.P. 2nd edit. 8vo. Lond. 1620; by Mr. Malone. And 3.That which seemes Best is Worst, exprest in a Paraphrastical Transcript of Iuuenals tenth Satyre. Together with the Tragicall Narration of Virginius Death interserted, by W.B. small 8vo. Lond.; imprinted by Felix Kyngston, 1617, by Mr. Octavius Gilchrist, who however rather leans to the opinion of William Barkstead being the author, from the circumstance of his having, as early as 1607, paraphrased, much in a similar way, the interesting tale of Myrrha, the mother of Adonis, from the 10th Book of the Metamorphoses. (SeeRestitutu, vol. i. p. 41.)

Cole, in his MS. Collectanea forAthenæ Cantabrigiensis, says:

"Mr. Knight, jun. shewed me a MS. written by William Basse, and corrected by him, in 4to., calledPolyhymnia.—Dedication. To the Right Noble and vertuous Lady, the Lady Bridget, Countess of Lindsey, and Baroness of Eresbie and Ricot, in verse, with Verses to the Right Hon. Francis Lord Norreys, Earl of Berkshire (in his days). To the Right Hon. the Lady Aungier (then wife of Sir Thos. Wenman) upon her coming out of Ireland and return thither. To the Right Hon. the lady Viscountess Falkland, upon her going into Ireland, two Sonnets. The Youth in the Boat. Acrostics of the truly noble, vertuous, and learned Lady, the Lady Agnes Wenman; of the Lady Penelope Dynham; of Mrs. Jane Wenman. Verses on the Chapel of Wadham College consecration, St. Peter's Day, 1613; on Caversham or Causham House; of Witham House, Oxfordshire, the house of a noble Knight, and favourer of my Muse; and Elegy on a Bullfinch, 1648; of the Four Mile Course of Bayaides Green, six times run over, by two famous Irish footmen, Patrick Dorning and William O'Farrell.—It contains about 40 leaves, much corrected, and at the end is 'L'Envoy':—

"'Go, sweet Polymnia, thanks for all your costAnd love to me; wherein no love is lost.As you have taught me various verse to use,I have to right you to be a Christian Muse.'"

"'Go, sweet Polymnia, thanks for all your cost

And love to me; wherein no love is lost.

As you have taught me various verse to use,

I have to right you to be a Christian Muse.'"

I have been thus particular in transcribing this passage from Cole, because this copy, mentioned as being in the possession of Mr. Knight, jun. (quere, where is it now?), varies from mine, obtained from Mr. Heber's Collection, and was no doubt the one prepared and corrected for the press by Basse. The following poems, mentioned by Cole, are not in my copy:—

"To the Right Hon. the Lady Aungier (then wife of Sir Thos. Wenman) upon her coming out of Ireland,and return thither. Acrostics of the truly noble, vertuous, and learned Lady, the Lady Agnes Wenman; of the Lady Penelope Dynham; of Mrs. Jane Wenman. Verses on the Chapel of Wadham College consecration, St. Peter's Day, 1613; and on Caversham or Causham House."

My copy, however, contains the following poems, not mentioned in the other:—

"Of a Great Floud; of the Raine-bowe; of Pen and Pensill, upon a fayre and vertuous Ladye's Picture; and the Spirituall Race."

The MS. contains 52 leaves, beautifully written without any corrections, and is in the original binding. It was procured by Mr. Heber from Hanwell, the Bookseller in Oxford, who had probably purchased it on the taking down of Ricot, the old seat of the Norreys family, and the dispersion of its contents. It has the autograph of Francis Lord Norreys on the fly-leaf, and was no doubt a presentation copy to him from Basse. The poetry of this work does not rise above mediocrity, and is not equal in thought or vigour to the Epitaph on Shakspeare. The chief portion of the volume is occupied with the singular tale of "The Youth in the Boat," which is divided into two parts; the first, containing (with the introduction) 59 verses of four lines each, and the second 163, exclusive of the "Morall," which occupies 11 more.

We know that it was Basse's intention to have published these poems, from some lines addressed by Dr. Ralph Bathurst "To Mr. W. Basse upon the intended publication of his poems, January 13. 1651," which are given in Warton'sLife and Literary Remains of Dean Bathurst, 8vo. 1761, p. 288. In these lines the Dean compares Basse, who was still living, "to an aged oak," and says:—

"Though thy grey Muse grew up with elder times,And our deceased Grandsires lisp'd thy rhymes,Yet we can sing thee too."

"Though thy grey Muse grew up with elder times,

And our deceased Grandsires lisp'd thy rhymes,

Yet we can sing thee too."

From these lines, therefore, written nearly 50 years after the publication of his former works in 1602, when we may reasonably suppose he could not have been under 20, it is certain that Basse was then well stricken in years; and the probability is, that he died very shortly afterwards, and that this was the reason of the non-publication of his poems. It is possible that a search into the registers at Thame or that neighbourhood, or in the court at Oxford, might settle this point, and also furnish some further information concerning his family and connections. Cole mentions that a person of both his names was admitted a sizar in Emanuel College, Cambridge, in 1629, of Suffolk, and took his degree of B.A. in 1632 and M.A. in 1636. But this was too modern a date for our poet, and might possibly be his son.

I have been informed that in Winchester College library, in a 4to. volume, there are some poems by Mr. William Basse; but the title of the volume I have not been able to obtain.

Mr. Collier concludes his remarks, with a supposition that Basse "was a musical composer, as well as writer of verses." I believe Mr. C. to be right in this notion, from a passage which I find in the commencement of the 2nd Part of "The Youth in the Boat," where, alluding to "sweete Calliope," he remarks:—

"A Muse to whom in former dayesI was extremely bound,When I did sing inMusiquesprayse,AndVoycesheau'nly sound."

"A Muse to whom in former dayes

I was extremely bound,

When I did sing inMusiquesprayse,

AndVoycesheau'nly sound."

And from the circumstance also of one of the Ballads in the Roxburghe Collection, "Wit's never good till 'tis bought," being sung to the tune of "Basse's Carreere." Mr. Collier has reprinted this in his elegantBook of Roxburghe Ballads, 4to. 1847, p. 264., and says:—

"The tune to which is sung, 'Basse's Carreere,' means of course, the tune mentioned in Walton'sAngler, 'The Hunter in his Career,' composed, as he states by William Basse."

I have a distant recollection of having seen other pieces in some of our early musical works, composed by Basse. Sir Harris Nicolas, also, in the "Life of Walton," prefixed to his edition ofThe Complete Angler, p. cxx., says:—

"He (Walton) appears to have been fond of poetry and music.... and was intimate withBasse, an eminent composer, in whose science he took great interest."

I fear that these notices of William Basse, thus collected together from scattered sources, will not afford much information to Mr. Collier, beyond what he is already possessed of; but they may possibly interest others, who may not be quite so conversant with our early writers as that gentleman is known to be. I shall feel much gratified and obliged if he or any other of your correspondents will add any further notices or communications respecting one who may possibly have been personally known to Shakspeare, but whose name, at all events, will be handed down to posterity in connection with that of our immortal bard.

THOMAS CORSER,

Stand Rectory, Feb. 22. 1850.

In theGentleman's Magazine, vol. vii., new series, p. 48., is a clever notice of the life and works of the venerable John Stowe. It says:—

"The biographers have affirmed that he quitted his trade; but there is nothing to authorize that assertion in what he says himself upon the subject."

In the preface to an edition of theSummarie for the Year1575, now in my possession, Stowe says:—

"It is nowe x yeres, since I (seeing the confuse order of our late englishe Chronicles, and the ignorant handling of aunciet affaires) leaning myne own peculiar gains, coscerated my selfe to the searche of our famous antiquities."

Stowe was born in 1525; he was then 40 years of age when he gave up his "peculiar gains," and devoted himself entirely to antiquarian labours. There had already appeared his edition ofChaucerin 1561, also the commencement of theSummaries; but his greater works, theAnnals, Survey of London, &c., were not published till several years after.

In his old age he was reduced to poverty, or rather to actual beggary; for shortly before his death, when fourscore years old, he was permitted, by royal letters patent, to become a mendicant. This curious document is printed in Mr. Bolton Corney'sCuriosities of Literature Illustrated, and sets forth, that

"Whereas our louing Subject, John Stowe, this fine & forty yeers hath to his great charge, & with neglect of his ordinary meanes of maintenance (for the generall good as well of posteritie, as of the present age) compiled and published diuerse necessary bookes & Chronicles; and therefore we, in recompense of these his painfull laboures, & for the encouragement to the like, haue in our royall inclination ben pleased to graunt our Letters Patents &c. &c.; thereby authorizing him and his deputies to collect amongst our louing subjects, theyr voluntary contributions & kinde gratuities."

The whole preface to this edition of theSummarieis curious, and is followed by a List of "Authors out of whom this Summary is collected."

In Hearne'sRobert of Gloster, preface, p. lxi., allusion is made to theseSummaries. He says:—

"I have not yet met with a copy of thisSummaryin which we have an account of his authors."

After a panegyric on Stowe's incredible industry he says:—

"Sir Roger Lestrange, talking some years before his death with a very ingenious and learned Gentleman about our Historians, was pleased to say,that it was always a wonder to him, that the very best that had penn'd our History in English should be a poor Taylour, honest John Stowe. Sir Roger said aTaylour, because Stowe, as is reported, was bred a cap-maker. The trade of Cap-making was then much in fashion, Hats being not at that time much in request."

J.E.N.

The only reason, I imagine, which can be given for the transposition of letters spoken of by Mr. Williams (No. 12. p. 184.), is that it was done on "phonetic" principles—for the sake of euphony:—the new way was felt or fancied to be easier to the organs of speech, or (which is nearly the same) pleasanter to those of hearing. Such alterations have at all times been made,—as is well known to those versed in the earlier stages of the language,—and often most arbitrarily. It is needless to say that "provincial and vulgar" usage throws much light on the changes in the forms of words; and perhaps a little attention to the manner in which words are altered by the peasantry would illustrate the point in question more than a learned comment.

No form of verbal corruption is more frequent throughout the rural districts of England than that produced by the transposition of letters, especially of consonants: such words asworld,wasp,great, are, as every one knows, still ordinarily (though less frequently than a dozen years ago) pronouncedwordle,waps,gurt. So with names of places: thus Cholsey (Berks.) is called Chosley.

The dropping of a letter is to be accounted for in a like manner. Probably the word was firstpronouncedshort, and when the ear became accustomed to the shortened sound, the superfluous (or rather unpronounced) letter would be dropped in writing. In proper names, to which your correspondent particularly refers, we observe this going on extensively in the present day. Thus, in Caermarthen and Caernarvon, though theeis etymologically of importance, it is now very generally omitted—and that by "those in authority:" in the Ordnance Maps, Parliamentary "Blue Books," and Poor-law documents, those towns are always spelled Carnarvon, Carmarthen. A still more striking instance is that of a well-known village on the Thames, opposite Runnimede. Awhile back it was commonly spelled Wyrardisbury; now it appears on the time-tables of the South-Western Railway (and perhaps elsewhere) Wraysbury, which very nearly represents the local pronunciation.

It is, perhaps, worth while to remark that letters are sometimes added as well as dropped by the peasantry. Thus the Cockley, a little tributary of Wordsworth'sDuddon, is by the natives of Donnerdale invariably called Cocklety beck; whether for the sake of euphony, your readers may decide.

And now, Sir, you will perhaps permit me to put a query. Tom Brown, in hisDialogues, p. 44. ed. 1704., has a well-known line:—

"Why was not he a rascalWho refused to suffer the Children of Israel to gointo the Wilderness with their wives and familiesto eat the Paschal?"

"Why was not he a rascal

Who refused to suffer the Children of Israel to go

into the Wilderness with their wives and families

to eat the Paschal?"

which he says he found on some "very ancient hangings in a country ale-house." I have never doubted that he was himself the author; but having heard it positively ascribed to a very different person, I should be glad to know whetherany of your readers have met with it in an earlier writer; and if so, to whom is it to be ascribed?

J.T.

Pet-Names—"Jack."—Perhaps one of your many readers, erudite in etymologies, will kindly explain how "Jack" came to be used as thediminutivefor John. Dr. Kennedy, in his recent interesting disquisition on pet-names (No. 16. p. 242.), supposes that Jaques was (by confusion) transmuted into "Jack;" a "metamorphosis," almost as violent as the celebrated one effected, some two centuries ago, by Sir John Harrington. "Poor John," from being so long "Jack among his familiars," has been most scurvily treated, being employed to form sundry very derogatory compounds, such as, Jackass, Jackpudding, Jack-a-dandy, Jackanapes, Jack-a-lent, Jack o' oaks (knave of clubs), Jack-o' th' Lantern, &c. &c. Might not "Jack" have been derived from John, somewhat after the following fashion:—Johan—Joan—Jan—Janchen or Jankin.

"Ho! jolly Jenkin,I spy a knave in drinkin."

"Ho! jolly Jenkin,

I spy a knave in drinkin."

Jankin = little John. Jank—Jak. This etymology has, I confess, a very great resemblance to the Millerian mode of educing Cucumber from Jeremiah King; but it is the most plausible which occurs at present to

L. Kennaquhair.

John—Pisan.—I will thank you to inform your correspondent "C." (No. 15 p. 234.), that we must look to the East for the "original word" of John. In the Waldensian MSS. of the Gospels of the 12th Century, we find Ioanes, showing its derivation from the GreekIohannaes. The word Pisan occurs in the 33rd vol. of theArchæologia, p. 131.

I have considered it was a contraction forpavoisine, a small shield; and I believe this was the late Dr. Meyrick's opinion.

B.W. Feb. 25.

Sir,—If the signature to the article in No. 16., "on Pet Names," had not been Scottish, I should have been less surprised at the author's passing over the name ofJock, universally used in Scotland forJohn. The terminationickorckis often employed, as marking a diminutive object, or object of endearment. May not the English termJack, if not directly borrowed from the ScottishJock, have been formedthroughthe primaryJock—John—Jock—Jack?

EMDEE.

Origin of the Change of "Mary" into "Polly"(No. 14. p. 215.).—This change, like many others in diminutives, is progressive. By a natural affinity between the liquidsrandl,MarybecomesMolly, asSarah,Sally,Dorothea,Dora,Dolly, &c. It is not so easy to trace the affinity between theinitialsM. and P., though the case is not singular; thus,Margaret, Madge, Meggy, Meg,Peggy,Peg—Martha, Matty,Patty—andMary, Molly,PollyandPoll; in which last abbreviation not one single letter of the original word remains: the natural affinity between the two letters, asmedials, is evident, as in the following examples, all of which, with one exception, are Latin derivatives:empty,peremptory,sumptuous,presumptuous,exemption,redemption, andsempstressand again, in the wordstempt,attempt,contempt,exempt,prompt,accompt,comptroller(vid. Walker'sPrin. of Eng. Pron.pp. 42, 43.); in all which instances however, thepis mute, so that "Mary" is avenged for its being the accomplice in the desecration of her gentle name into "Polly." Many names of the other sex lose their initials in the diminutive; as,

RichardDickRobertBobWilliamBillEdwardNedChristopherKitRogerHodge,

and probably many others; but I have no list before me, and these are all that occur.

Philologos. Deanery of Gloucester, Shrove Tuesday, 1850.

Permit me to add two further plagiarisms or parallel passages on the subject ofChilde Haroldto those already contributed by your valuable correspondent "Melanion."

Mrs. Radcliffe (who I am informed was never out of England) is describing in herMysteries of Udolpho, Chap. xvi. the appearance of Venice. "Its terraces, crowded with airy, yet majestic fabrics touched as they now were with the splendour of the setting sun, appeared as if they had beencalled up from the Ocean by the wand of an enchanter."

In the 1st stanza of the 4th canto ofChilde Haroldwe have the well known lines—

"I stood in Venice on the bridge of sighs,A palace and a prison on each hand:I saw from out the wave her structures riseAs from the stroke of the enchanter's wand."

"I stood in Venice on the bridge of sighs,

A palace and a prison on each hand:

I saw from out the wave her structures rise

As from the stroke of the enchanter's wand."

In one of his letters Lord Byron tells us of his fondness for the above novel.

Again in Kirke White'sChristiad—

"The lyre which I in early days have strung,And now my spirits faint, and I have hungThe shell that solaced me in saddest hourOn the dark cypress—"

"The lyre which I in early days have strung,

And now my spirits faint, and I have hung

The shell that solaced me in saddest hour

On the dark cypress—"

May be compared with the last stanza but one of the 4th canto.

T.R.M.

The following lines by Robert Burns have never appeared in any collection of his works. They were given to me some time ago at Chatham Barracks by Lieut. Colonel Fergusson, R.M., formerly of Dumfriesshire, by whom they were copied from thetumblerupon which they were originally written.

Shortly before the death of Alan Cunningham I sent these verses to him, as well as two Epigrams of Burns, "On Howlet Face," and "On the Mayor of Carlisle's impounding his Horse," which were not included in his edition of Burns' works. In a letter which I received from Alan Cunningham, and which now lies before me, he says:—

"The pieces you were so good as to send me are by Burns, and the Epigrams are old acquaintances of mine. I know not how I came to omit them. I shall print them in the next edition, and say it was you who reminded me of them."

I believe that one or both of the Epigrams were printed in the 8vo. edition of the works in one volume, but my name is not mentioned as the contributor, which I regret; for, as an enthusiastic admirer of Burns, and a collector for many years of his fugitive pieces, it would have been gratifying to me to have been thus noticed. Perhaps Cunningham did not superintend that edition.

The verses I now send you, and which may, perhaps, be worth preserving in your valuable miscellany, originated thus:—On occasion of a social meeting at Brownhill inn, in the parish of Closeburn, near Dumfries, which was, according to Alan Cunningham, "a favourite resting-place of Burns," the poet, who was one of the party, was not a little delighted by the unexpected appearance of his friend William Stewart. He seized a tumbler, and in the fulness of his heart, wrote the following lines on it with a diamond. The tumbler is carefully preserved, and was shown some years since by a relative of Mr. Stewart, at his cottage at Closeburn, to Colonel Fergusson, who transcribed the lines, and gave them to me with the assurance that they had never been printed.

The first verse is an adaptation of a well known Jacobite lyric.

"You're welcome Willie Stewart!You're welcome Willie Stewart!There's no a flower that blooms in MayThat's half so welcome as thou art!Come bumper high, express your joy!The bowl—ye maun renew it—Thetappit-hen—gae fetch her ben,To welcome Willie Stewart!May faes be strong—may friends be slack—May he ilk action rue it—May woman on him turn her backWad wrang thee Willie Stewart!"

"You're welcome Willie Stewart!You're welcome Willie Stewart!There's no a flower that blooms in MayThat's half so welcome as thou art!

"You're welcome Willie Stewart!

You're welcome Willie Stewart!

There's no a flower that blooms in May

That's half so welcome as thou art!

Come bumper high, express your joy!The bowl—ye maun renew it—Thetappit-hen—gae fetch her ben,To welcome Willie Stewart!

Come bumper high, express your joy!

The bowl—ye maun renew it—

Thetappit-hen—gae fetch her ben,

To welcome Willie Stewart!

May faes be strong—may friends be slack—May he ilk action rue it—May woman on him turn her backWad wrang thee Willie Stewart!"

May faes be strong—may friends be slack—

May he ilk action rue it—

May woman on him turn her back

Wad wrang thee Willie Stewart!"

J. Reynell Wreford.

Your correspondent "R.O." having inquired after the author of the conjecture that the Lacedæmonian Black Broth was composed wholly, or in part, of coffee, such an idea appearing to me to have arisen principally from a presumed identity of colour between the two, and to have no foundation in fact, I have endeavoured to combat it, in the first instance by raising the question, whether it was black or not?

This has brought us to the main point, what the [Greek: zomos melas] really was. And here "R.O." appears to rest content upon the probablity of coffee having been an ingredient. Permit me to assign some additional reasons for entertaining a different opinion.

We read nothing in native writers of anything like coffee in Greece, indigenous or imported; and how in the world was it to get into Laconia, inhabited, as it is well known to have been, by a race of men the least prone of any to change their customs, and the least accessible to strangers. Lycurgus, we are told, forbade his people to be sailors, or to contend at sea6, so that they had no means of importing it themselves; and what foreign merchant would sell it to them, who had only iron money to pay withal, and dealt, moreover, as much as possible by way of barter?7

But it may be said they cultivated the plant themselves; that is, in other words, that the Helots raised it for them. If so, how happens it that all mention of the berry is omitted in the catalogue of their monthly contributions to the Phiditia, which are said to have consisted of meal, wine, cheese, figs, and a very little money?8and when the king of Pontus9indulged in the expensive fancy of buying to himself (not hiring, let it be recollected) a cook, to make that famous broth which Dionysius found so detestable, how came he not at the same time to think of buying a pound of coffee also? Moreover, if we consider its universal popularity at present, it is hardly to be supposed that, in ancient times, coffee would have suited no palate except that of a Lacedæmonian.

With respect to the colour of the broth, I am reminded of my own reference toPollux, lib. vi. who is represented by your correspondent to say that the [Greek: melas zomos] was also called [Greek: aimatia], a word which Messrs. Scott and Liddell interpret todenote "blood broth," and go on to state, upon the authority of Manso, that blood was a principal ingredient in this celebrated Lacedæmonian dish. Certainly, if the case were really so, the German writer would have succeeded in preparing for us a most disagreeable and warlike kind of food; but my astonishment has not been small, upon turning to the passage, to find that "R.O.'s" authorities had misled him, and thatPolluxreally says nothing of the kind. His words (I quote from the edition 2 vols. folio, Amst. 1706) are these,

[Greek: "O de melas kaloumenos zomos Lakonikon men hos epi to poly to edesma. esti de hae kaloumenae haimatia. to de thrion hode eskeuazon, k.t.l."]

The general subject of the section is the different kinds of flesh used by man for food, and incidentally the good things which may be made from these; which leads the writer to mention by name many kinds of broth, amongst which he says towards the end, is that called [Greek: melas zomos] which might be considered almost as a Lacedæmonian dish; adding further, that there was a something called hæmatia (and this might have been a black pudding or sausage for anything that appears to the contrary); also the thrium, which was prepared in a manner he proceeds to describe. Now the three parts of the sentence which has been given above in the original do, to the best of my judgment, clearly refer to three different species of food; and I would appeal to the candid opinion of any competent Greek scholar, whether, according to the idiom of that language, the second part of it is so expressed, as to connect it with, and make it explanatory of, the first. We want, for this purpose, a relative, either with or without [Greek: esti]; and the change of gender in hæmatia seems perfectly unaccountable if it is intended to have any reference to [Greek: zomos].

It may not be unimportant to add that the significant silence of Meursius, (an author surely not to be lightly thought of) who in hisMiscellanea Laconicasays nothing of blood broth at the Phiditia, implies that he understood the passage of Pollux as intended to convey the meaning expressed above.

Another lexicographer, Hesychius, informs us that [Greek: Bapha] was the Lacedæmonian term for [Greek: zomos]; and this, perhaps, was the genuine appellation for that which other Greeks expressed by a periphrasis, either in contempt or dislike, or because its colour was really dark, the juices of the meat being thoroughly extracted into it. That it was nutritive and powerful may be inferred from what Plutarch mentions, that the older men were content to give up the meat to the younger ones, and live upon the broth only10, which, had it been very poor, they would not have done.

When these remarks were commenced, it was for the purpose of showing, by means of a passage not generally referred to, what the ancients conceived the "black broth" to be, and that consequently, all idea of coffee entering into its composition was untenable. How far this has been accomplished the reader must decide: but I cannot quit the subject without expressing my sincere persuasion, founded upon a view of the authorities referred to, that the account given by Athenæus is substantially correct. Pig meat would be much in use with a people not disposed to take the trouble of preparing any other: the animal was fit for nothing but food; and the refuse of their little farms would be sufficient for his keep. Athenæus also, in another passage, supplies us with a confirmation of the notion thatthe stockwas made frompig, and this is stronger because it occurs incidentally. It is found in a quotation from Matron, the maker of parodies, who, alluding to some person or other who had not got on very well at a Lacedæmonian feast, explains the cause of his failure to have been, that the black broth, and boiled odds and ends of pig meat, had beaten him;

"[Greek: Damna min zomos te melas akrokolia t' hephtha.]"11

That their cookery was not of a very recondite nature, is evident from what is mentioned by Plutarch, that the public meals were instituted at first in order to prevent their being in the hands of artistes and cooks12, while to these every one sent a stated portion of provisions, so that there would neither be change nor variety in them. Cooks again were sent out of Sparta, if they could do more than dress meat13; while the only seasoning allowed to them was salt and vinegar14; for which reason, perhaps, Meursius considers the composition of the [Greek: zomos melas] to have been pork gravy seasoned with vinegar and salt15, since there seemed to have been nothing else of which it could possibly have been made.

For MR. TREVELYAN's suggestion of the cuttlefish, I am greatly obliged to him; but this was an Athenian dish, and too good for the severity of Spartan manners. It is impossible not to smile at the idea of the distress which Cineparius must have felt, had he happened to witness the performances of any persons thus swallowing ink bottles by wholesale.

The passages which have been already quoted,either by R.O. or myself, will probably give Mr. T. sufficient information of the principal ones in which the "black broth" is mentioned.

Footnote 6:(return)Xen. de Rep. Lac.

Xen. de Rep. Lac.

Footnote 7:(return)"Emi singula non pecuniâ sed compensatione mercium, jussit (Lycurgus)."—Justin. iii. 2.

"Emi singula non pecuniâ sed compensatione mercium, jussit (Lycurgus)."—Justin. iii. 2.

Footnote 8:(return)Plut. in Lyc.

Plut. in Lyc.

Footnote 9:(return)Plut. in Lyc.The word is [Greek: priasthai], the cook probably a slave and Helot. There seems some confusion between this story, and that of Dionysius tyrant of Syracuse, noticed in the beginning of theInst. Lacon., and by Cicero in theTusculan Questions, v. 34. The Syracusan table was celebrated.]

Plut. in Lyc.The word is [Greek: priasthai], the cook probably a slave and Helot. There seems some confusion between this story, and that of Dionysius tyrant of Syracuse, noticed in the beginning of theInst. Lacon., and by Cicero in theTusculan Questions, v. 34. The Syracusan table was celebrated.]

Footnote 10:(return)Plut. in Lyc.

Plut. in Lyc.

Footnote 11:(return)Ath. Deip.iv. 13. l. 93.

Ath. Deip.iv. 13. l. 93.

Footnote 12:(return)Plut. in Lyc."[Greek: En chersi daemiourgon kai mageiron.]"

Plut. in Lyc."[Greek: En chersi daemiourgon kai mageiron.]"

Footnote 13:(return)"[Greek: Edei de opsopoious en Lakedaimoni einai kreos monou ho de para touto epizamenos exelauneto taes Spartaes]."—Æl. Var. Hist.xiv. 7.

"[Greek: Edei de opsopoious en Lakedaimoni einai kreos monou ho de para touto epizamenos exelauneto taes Spartaes]."—Æl. Var. Hist.xiv. 7.

Footnote 14:(return)"[Greek: Hoi Lakones hoxos men kai halas dontes to mageiro, ta loipa keleuoysin en to hiereio xaetein]."—Plut. de tuenda Sanitate.

"[Greek: Hoi Lakones hoxos men kai halas dontes to mageiro, ta loipa keleuoysin en to hiereio xaetein]."—Plut. de tuenda Sanitate.

Footnote 15:(return)Meursii Misc. Lacon. lib. i. cap. 8.

Meursii Misc. Lacon. lib. i. cap. 8.

1. In a curious poetical tract, entitledA Whip for an Ape, or Martin displaied; no date, but printed in the reign of Elizabeth, occurs the following stanza:—

"And ye grave men that answere Martin's mowes,He mockes the more, and you in vain loose times.Leave Apes to Dogges to baite, their skins to Crowes,And let old LANAM lashe him with his rimes."

"And ye grave men that answere Martin's mowes,

He mockes the more, and you in vain loose times.

Leave Apes to Dogges to baite, their skins to Crowes,

And let old LANAM lashe him with his rimes."

Was thisold Lanam, the same person as Robert Laneham, who wrote "a Narrative of Queen Elizabeth's Visit to Kenilworth Castle in 1575"? I do not find his name in Ritson'sBibliographica Poetica.

2. In Spence'sAnecdotes of Books and Men(Singer's edit. p. 22.), a poet named Bagnall is mentioned as the author of the once famous poemThe Counter Scuffle. Edmund Gayton, the author ofPleasant Notes upon Don Quixote, wrote a tract, in verse, entitledWill Bagnall's Ghost. Who was Will Bagnall? He appears to have been a well-known person, and one of the wits of the days of Charles the First, but I cannot learn anything of his biography.

3. In theCommon-place Bookof Justinian Paget, a lawyer of James the First's time preserved among the Harleian MSS. in the British Museum, is the following sonnet:—

"My love and I for kisses play'd;Shee would keepe stakes, I was content;But when I wonn she would be pay'd,This made me aske her what she ment;Nay, since I see (quoth she), you wrangle in vaine,Take your owne kisses, give me mine againe."

"My love and I for kisses play'd;

Shee would keepe stakes, I was content;

But when I wonn she would be pay'd,

This made me aske her what she ment;

Nay, since I see (quoth she), you wrangle in vaine,

Take your owne kisses, give me mine againe."

The initials at the end, "W.S.", probably stand for William Stroud or Strode, whose name is given at length to some other rhymes in the same MS. I should be glad to know if this quaint little conceit has been printed before, and if so, in what collection.

4. What is the earliest printed copy of the beautiful old song "My Mind to me a Kingdom is?" It is to be found in a rare tract by Nicholas Breton, entitledThe Court and Country, or A Briefe Discourse betweene the Courtier and Country-man, 4to. 1618. Query, is Breton its author?

5. Mr. Edward Farr, in hisSelect Poetry, chiefly Devotional, of the Reign of Queen Elizabeth(vol. i, p. xix.), calls Nicholas Breton,Sir Nicholas. Is there any authority for Breton's knighthood?

6. Can John Davies, the author ofSir Martin Mar-people, 1590, be identified with John Davies of Hereford, or Sir John Davies, the author ofNosce Teipsum, 1599?

7. In whose possession is the copy of Marlow and Chapman'sHero and Leander, 1629, sold in Heber's sale (Part iv., No. 1415)? Has the Rev. Alex. Dyce made use of the MS. notes, and the Latin Epitaph on Sir Roger Manwood, by Marlow, contained in this copy?

8. Has any recent evidence been discovered as to the authorship ofThe Complaynt of Scotland? Is Sir David Lindsay, or Wedderburn, the author of this very interesting work?

9. In the Rev. J.E. Tyler'sHenry of Monmouth(vol. ii Appendix, p. 417.), is a ballad onThe Battle of Agincourt, beginning as follows:—

"Fair stood the wind for France,When we our sails advance;Nor now to prove our chance,Longer will tarry;But, putting to the main,At Kaux, the mouth of Seine,With all his martial train,Landed King Harry."

"Fair stood the wind for France,

When we our sails advance;

Nor now to prove our chance,

Longer will tarry;

But, putting to the main,

At Kaux, the mouth of Seine,

With all his martial train,

Landed King Harry."

The author of this old ballad, the learned editor says, wasMichael Drayton; but I have not been able to find it in any edition of his works which I have consulted. Can Mr. Tyler have confounded it with Drayton'sPoemon the same subject? Any information on this point will be very acceptable.

10. On the fly-leaf of an Old Music Book which I lately purchased is the following little poem. I do not remember to have seen it in print, but some of your correspondents may correct me.

"TO THE LORD BACON WHEN FALLING FROM FAVOUR."Dazel'd thus with height of place,Whilst our hopes our wits beguile;No man marks the narrow space'Twixt a prison and a smile."Then since fortune's favours fade,You that in her arms do sleep,Learn to swim and not to wade,For the hearts of kings are deep."But if greatness be so blind,As to burst in towers of air;Let it be with goodness lin'd,That at least the fall be fair."Then, though dark'ned you shall say,When friends fail and princes frown;Virtue is the roughest way,But proves at night a bed of down."

"TO THE LORD BACON WHEN FALLING FROM FAVOUR.

"Dazel'd thus with height of place,Whilst our hopes our wits beguile;No man marks the narrow space'Twixt a prison and a smile.

"Dazel'd thus with height of place,

Whilst our hopes our wits beguile;

No man marks the narrow space

'Twixt a prison and a smile.

"Then since fortune's favours fade,You that in her arms do sleep,Learn to swim and not to wade,For the hearts of kings are deep.

"Then since fortune's favours fade,

You that in her arms do sleep,

Learn to swim and not to wade,

For the hearts of kings are deep.

"But if greatness be so blind,As to burst in towers of air;Let it be with goodness lin'd,That at least the fall be fair.

"But if greatness be so blind,

As to burst in towers of air;

Let it be with goodness lin'd,

That at least the fall be fair.

"Then, though dark'ned you shall say,When friends fail and princes frown;Virtue is the roughest way,But proves at night a bed of down."

"Then, though dark'ned you shall say,

When friends fail and princes frown;

Virtue is the roughest way,

But proves at night a bed of down."

It is in the hand-writing of "Johs. Rasbrick vic. de Kirkton," but whether he was the author, or only the transcriber, is uncertain.

EDWARD F. RIMBAULT.

We learn from Wilkins (Concilia, tom. iv. p. 566, ed. Lond. 1737), also from Cardwell (Synodal. pp. 668. 677. 820. ed. Oxon. 1842), and from some other writers, that the care of drawing up a Form of Consecration of Churches, Chapels, and Burial-places, was committed to Bishop Cosin by the Convocation of 1661; which form, when complete, is stated to have been put into the hands of Robert, Bishop of Oxon, Humphrey, Bishop of Sarum, Robert, Bishop of Lincoln, and John, Bishop of Coventry and Lichfield, for revision.

I should feel much obliged if (when you can find space) you would kindly put the query to your correspondents—"What has become of this Form?"

There is at Durham a Form of Consecration of Churches, said to be in the hand-writing of Basire; at the end of which the following notes are written:

"This forme was used at the consecration of Christ's Church, neare Tinmouth, by the Right Rev. Father in God, John, Lord Bishop of Duresme, on Sunday, the 5th of July, 1668."Hæc forma Consecrationis consonant cum formâ Reverendi in Christo Patris Lanceloti Andewes, edit. anno 1659."Deest Anathema, Signaculum in antiquis dedicationibus.

"This forme was used at the consecration of Christ's Church, neare Tinmouth, by the Right Rev. Father in God, John, Lord Bishop of Duresme, on Sunday, the 5th of July, 1668.

"Hæc forma Consecrationis consonant cum formâ Reverendi in Christo Patris Lanceloti Andewes, edit. anno 1659.

"Deest Anathema, Signaculum in antiquis dedicationibus.

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