160.The Virgin, in Brucioli’sSigns of the Zodiac, as given in ourPlate XIII., has a unicorn kneeling by her side, to be fondled.
160.The Virgin, in Brucioli’sSigns of the Zodiac, as given in ourPlate XIII., has a unicorn kneeling by her side, to be fondled.
161.The wonderful curative and other powers of the horn are set forth in hisEmblemsby Joachim Camerarius,Ex Animalibus Quadrupedibus(Emb. 12, 13 and 14). He informs us that “Bartholomew Alvianus, a Venetian general, caused to be inscribed on his banner,I drive away poisons, intimating that himself, like a unicorn putting to flight noxious and poisonous animals, would by his own warlike valour extirpate his enemies of the contrary factions.”
161.The wonderful curative and other powers of the horn are set forth in hisEmblemsby Joachim Camerarius,Ex Animalibus Quadrupedibus(Emb. 12, 13 and 14). He informs us that “Bartholomew Alvianus, a Venetian general, caused to be inscribed on his banner,I drive away poisons, intimating that himself, like a unicorn putting to flight noxious and poisonous animals, would by his own warlike valour extirpate his enemies of the contrary factions.”
162.See the fable of the Wolf and the Ass from theDialogues of Creatures(pp. 53–55 of this volume).
162.See the fable of the Wolf and the Ass from theDialogues of Creatures(pp. 53–55 of this volume).
163.See p. 11 of J. Payne Collier’s admirably executed Reprint of “The Phœnix Nest,” from the original edition of 1593.
163.See p. 11 of J. Payne Collier’s admirably executed Reprint of “The Phœnix Nest,” from the original edition of 1593.
164.There are similar thoughts in Shakespeare’sPhœnix and Turtle(Works, lines 25 and 37, vol. ix. p. 671),—“So they loved, as love in twainHad the essence but in one;Two distincts, division none,Number there in love was slain.”And,—“Property was thus appalled,That the self was not the same;Single nature’s double nameNeither two nor one was called.”
164.There are similar thoughts in Shakespeare’sPhœnix and Turtle(Works, lines 25 and 37, vol. ix. p. 671),—
“So they loved, as love in twainHad the essence but in one;Two distincts, division none,Number there in love was slain.”And,—“Property was thus appalled,That the self was not the same;Single nature’s double nameNeither two nor one was called.”
“So they loved, as love in twainHad the essence but in one;Two distincts, division none,Number there in love was slain.”
“So they loved, as love in twainHad the essence but in one;Two distincts, division none,Number there in love was slain.”
“So they loved, as love in twainHad the essence but in one;Two distincts, division none,Number there in love was slain.”
“So they loved, as love in twainHad the essence but in one;Two distincts, division none,Number there in love was slain.”
“So they loved, as love in twain
Had the essence but in one;
Two distincts, division none,
Number there in love was slain.”
And,—
And,—
“Property was thus appalled,That the self was not the same;Single nature’s double nameNeither two nor one was called.”
“Property was thus appalled,That the self was not the same;Single nature’s double nameNeither two nor one was called.”
“Property was thus appalled,That the self was not the same;Single nature’s double nameNeither two nor one was called.”
“Property was thus appalled,That the self was not the same;Single nature’s double nameNeither two nor one was called.”
“Property was thus appalled,
That the self was not the same;
Single nature’s double name
Neither two nor one was called.”
165.Reusner adopts this first line from Ovid’sFable of the Phœnix(Metam., bk. xv. 37. l. 3),—“Sed thuris lacrymis, & succo vivit amomi.”
165.Reusner adopts this first line from Ovid’sFable of the Phœnix(Metam., bk. xv. 37. l. 3),—
“Sed thuris lacrymis, & succo vivit amomi.”
“Sed thuris lacrymis, & succo vivit amomi.”
“Sed thuris lacrymis, & succo vivit amomi.”
“Sed thuris lacrymis, & succo vivit amomi.”
166.To render it still more useful, the words should receive something of classification, as in Cruden’sConcordance to the English Bible, and thenumberof thelineshould be given as well as of theActandScene.
166.To render it still more useful, the words should receive something of classification, as in Cruden’sConcordance to the English Bible, and thenumberof thelineshould be given as well as of theActandScene.
167.The whole stanza as given on the last page, beginning with the line,—“The Pellican, for to reuiue her younge,”is quoted in Knight’s “Pictorial Shakspere” (vol. i. p. 154), in illustration of these lines fromHamletconcerning “the kind life-rendering pelican.” The woodcut which Knight gives is also copied from Whitney, and the following remark added,—“Amongst old books of emblems there is one on which Shakspere himself might have looked, containing the subjoined representation. It is entitled ‘A Choice of Emblemes and other Devices by Geffrey Whitney, 1586.’” Knight thus appears prepared to recognise what we contend for, that Emblem writers were known to Shakespeare.
167.The whole stanza as given on the last page, beginning with the line,—
“The Pellican, for to reuiue her younge,”
“The Pellican, for to reuiue her younge,”
“The Pellican, for to reuiue her younge,”
“The Pellican, for to reuiue her younge,”
is quoted in Knight’s “Pictorial Shakspere” (vol. i. p. 154), in illustration of these lines fromHamletconcerning “the kind life-rendering pelican.” The woodcut which Knight gives is also copied from Whitney, and the following remark added,—“Amongst old books of emblems there is one on which Shakspere himself might have looked, containing the subjoined representation. It is entitled ‘A Choice of Emblemes and other Devices by Geffrey Whitney, 1586.’” Knight thus appears prepared to recognise what we contend for, that Emblem writers were known to Shakespeare.
168.Virgil’sÆneid(bk. xii. 412–414), thus expressed in Dryden’s rendering, will explain the passage; he is speaking of Venus,—“A branch of healing dittany she brought:Which in the Cretan fields with care she sought:Rough is the stem, which wooly leafs surround;The leafs with flow’rs, the flow’rs with purple crown’d.”See also Joachim Camerarius,Ex Animalibus Quadrup.(ed. 1595, Emb. 69, p. 71).
168.Virgil’sÆneid(bk. xii. 412–414), thus expressed in Dryden’s rendering, will explain the passage; he is speaking of Venus,—
“A branch of healing dittany she brought:Which in the Cretan fields with care she sought:Rough is the stem, which wooly leafs surround;The leafs with flow’rs, the flow’rs with purple crown’d.”
“A branch of healing dittany she brought:Which in the Cretan fields with care she sought:Rough is the stem, which wooly leafs surround;The leafs with flow’rs, the flow’rs with purple crown’d.”
“A branch of healing dittany she brought:Which in the Cretan fields with care she sought:Rough is the stem, which wooly leafs surround;The leafs with flow’rs, the flow’rs with purple crown’d.”
“A branch of healing dittany she brought:
Which in the Cretan fields with care she sought:
Rough is the stem, which wooly leafs surround;
The leafs with flow’rs, the flow’rs with purple crown’d.”
See also Joachim Camerarius,Ex Animalibus Quadrup.(ed. 1595, Emb. 69, p. 71).
169.In Haechtan’sParvus Mundus(ed. 1579), Gerard de Jode represents the sleeping place as“sub tegmine fagi,”—but the results of the mistake as equally unfortunate with those in Bellay and Whitney.
169.In Haechtan’sParvus Mundus(ed. 1579), Gerard de Jode represents the sleeping place as“sub tegmine fagi,”—but the results of the mistake as equally unfortunate with those in Bellay and Whitney.
170.See“Archæologia,”vol. xxxv. 1853, pp. 167–189; “Observations on the Origin of the Division of Man’s Life into Stages. By John Winter Jones, Esq.”
170.See“Archæologia,”vol. xxxv. 1853, pp. 167–189; “Observations on the Origin of the Division of Man’s Life into Stages. By John Winter Jones, Esq.”
171.It may be noted that the Romans understood byPueritiathe period from infancy up to the 17th year; byAdolescentia, the period from the age of 15 to 30; byJuventus, the season of life from the 20th to the 40th year.Virilitas, manhood, began when in the 16th year a youth assumed thevirilis toga, “the manly gown.”
171.It may be noted that the Romans understood byPueritiathe period from infancy up to the 17th year; byAdolescentia, the period from the age of 15 to 30; byJuventus, the season of life from the 20th to the 40th year.Virilitas, manhood, began when in the 16th year a youth assumed thevirilis toga, “the manly gown.”
172.Soon after Whitney’s time this emblem was repeated in that very odd and curious volume;“Stamm Buch, Darinnen Christliche Tugenden Beyspiel Einhundert ausserlesenerEmblemata, mit schönen Kupffer-stücke geziener:”Franckfurt-am-Mayn, AnnoMDCXIX. 8vo, pp. 447. At p. 290, Emb. 65, with the words“Ubi es?”there is the figure of Adam hiding behind a tree, and among descriptive stanzas in seven or eight languages, are some intended to be specimens of the language at that day spoken and written in Britain:—“Adam did breake God’s commandement,In Paradise against his dissent,Therefore he hyde him vnder a treeBecausehis Lorde, himshould not see.But (alas) to God is all thing euident.Thanhe faundehim in a momentAndwill alwayes such wicked menFeind, if they doo fromhim runn.”
172.Soon after Whitney’s time this emblem was repeated in that very odd and curious volume;“Stamm Buch, Darinnen Christliche Tugenden Beyspiel Einhundert ausserlesenerEmblemata, mit schönen Kupffer-stücke geziener:”Franckfurt-am-Mayn, AnnoMDCXIX. 8vo, pp. 447. At p. 290, Emb. 65, with the words“Ubi es?”there is the figure of Adam hiding behind a tree, and among descriptive stanzas in seven or eight languages, are some intended to be specimens of the language at that day spoken and written in Britain:—
“Adam did breake God’s commandement,In Paradise against his dissent,Therefore he hyde him vnder a treeBecausehis Lorde, himshould not see.But (alas) to God is all thing euident.Thanhe faundehim in a momentAndwill alwayes such wicked menFeind, if they doo fromhim runn.”
“Adam did breake God’s commandement,In Paradise against his dissent,Therefore he hyde him vnder a treeBecausehis Lorde, himshould not see.But (alas) to God is all thing euident.Thanhe faundehim in a momentAndwill alwayes such wicked menFeind, if they doo fromhim runn.”
“Adam did breake God’s commandement,In Paradise against his dissent,Therefore he hyde him vnder a treeBecausehis Lorde, himshould not see.But (alas) to God is all thing euident.Thanhe faundehim in a momentAndwill alwayes such wicked menFeind, if they doo fromhim runn.”
“Adam did breake God’s commandement,
In Paradise against his dissent,
Therefore he hyde him vnder a tree
Becausehis Lorde, himshould not see.
But (alas) to God is all thing euident.
Thanhe faundehim in a moment
Andwill alwayes such wicked men
Feind, if they doo fromhim runn.”
173.For a fine Emblem to illustrate this passage, see“Horatii Emblemata,”by Otho Vænius, pp. 58, 59, edit. Antwerp, 4to, 1612; also pp. 70 and 71, to give artistic force to the idea of the “just man firm to his purpose.”
173.For a fine Emblem to illustrate this passage, see“Horatii Emblemata,”by Otho Vænius, pp. 58, 59, edit. Antwerp, 4to, 1612; also pp. 70 and 71, to give artistic force to the idea of the “just man firm to his purpose.”
174.Shakespeare illustrated by parallelisms from the Fathers of the Church might, I doubt not, be rendered very interesting and instructive by a writer of competent learning and enthusiasm, not to name itfurore, in behalf of his subject.
174.Shakespeare illustrated by parallelisms from the Fathers of the Church might, I doubt not, be rendered very interesting and instructive by a writer of competent learning and enthusiasm, not to name itfurore, in behalf of his subject.
175.Opera, vol. i. p. 649 B, Francofurti, 1620.
175.Opera, vol. i. p. 649 B, Francofurti, 1620.
176.Reference might be made also to Whitney’s fine tale,Concerning Envy and Avarice, which immediately follows theDescription of Envy.
176.Reference might be made also to Whitney’s fine tale,Concerning Envy and Avarice, which immediately follows theDescription of Envy.
177.The original lines are,—“Innvmerisagitur Respublica nostra procellis,Et spes venturæ sola salutis adest:Non secus ac nauis medio circum æquore, venti,Quam rapiunt; falsis tamq. fatiscit aquis.Quòd si Helenæ adueniant lucentia sidera fratres:Amissos animos spes bona restituit.”
177.The original lines are,—
“Innvmerisagitur Respublica nostra procellis,Et spes venturæ sola salutis adest:Non secus ac nauis medio circum æquore, venti,Quam rapiunt; falsis tamq. fatiscit aquis.Quòd si Helenæ adueniant lucentia sidera fratres:Amissos animos spes bona restituit.”
“Innvmerisagitur Respublica nostra procellis,Et spes venturæ sola salutis adest:Non secus ac nauis medio circum æquore, venti,Quam rapiunt; falsis tamq. fatiscit aquis.Quòd si Helenæ adueniant lucentia sidera fratres:Amissos animos spes bona restituit.”
“Innvmerisagitur Respublica nostra procellis,Et spes venturæ sola salutis adest:Non secus ac nauis medio circum æquore, venti,Quam rapiunt; falsis tamq. fatiscit aquis.Quòd si Helenæ adueniant lucentia sidera fratres:Amissos animos spes bona restituit.”
“Innvmerisagitur Respublica nostra procellis,
Et spes venturæ sola salutis adest:
Non secus ac nauis medio circum æquore, venti,
Quam rapiunt; falsis tamq. fatiscit aquis.
Quòd si Helenæ adueniant lucentia sidera fratres:
Amissos animos spes bona restituit.”
178.The original lines by Hadrian Junius are,—“Oculata, pennis fulta, sublimem vehensCalamum aurea inter astra Fama collocat.Illustre claris surgit è scriptis decus,Feritque perpes vertice alta sidera.”
178.The original lines by Hadrian Junius are,—
“Oculata, pennis fulta, sublimem vehensCalamum aurea inter astra Fama collocat.Illustre claris surgit è scriptis decus,Feritque perpes vertice alta sidera.”
“Oculata, pennis fulta, sublimem vehensCalamum aurea inter astra Fama collocat.Illustre claris surgit è scriptis decus,Feritque perpes vertice alta sidera.”
“Oculata, pennis fulta, sublimem vehensCalamum aurea inter astra Fama collocat.Illustre claris surgit è scriptis decus,Feritque perpes vertice alta sidera.”
“Oculata, pennis fulta, sublimem vehens
Calamum aurea inter astra Fama collocat.
Illustre claris surgit è scriptis decus,
Feritque perpes vertice alta sidera.”
179.“A third,” in the modern sense of the word, is just nonsense, and therefore we leave the reading of the Cambridge edition, and abide by those critics who tell us that thread was formerly spelt thrid or third. See Johnson and Steevens’Shakspeare, vol. i. ed. 1785, p. 92.
179.“A third,” in the modern sense of the word, is just nonsense, and therefore we leave the reading of the Cambridge edition, and abide by those critics who tell us that thread was formerly spelt thrid or third. See Johnson and Steevens’Shakspeare, vol. i. ed. 1785, p. 92.
180.Can this be an allusion to Holbein’sLast JudgmentandEscutcheon of Deathin hisSimulachres de la Mort, ed. 1538?
180.Can this be an allusion to Holbein’sLast JudgmentandEscutcheon of Deathin hisSimulachres de la Mort, ed. 1538?
181.“Cicero dict que Alcidamus vng Rheteur antique escripuit les louanges de la Mort, en les quelles estoient cõtenuz les nombres des maulx des humains, & ce pour leur faire desirer la Mort. Car si le dernier iour n’amaine extinction, mais commutation de lieu, Quest il plus a desirer? Et s’il estainct & efface tout, Quest il rien meilleur, que de s’ endormir au milieu des labeurs de ceste vie & ainsi reposer en vng sempiternel sommeil.”
181.“Cicero dict que Alcidamus vng Rheteur antique escripuit les louanges de la Mort, en les quelles estoient cõtenuz les nombres des maulx des humains, & ce pour leur faire desirer la Mort. Car si le dernier iour n’amaine extinction, mais commutation de lieu, Quest il plus a desirer? Et s’il estainct & efface tout, Quest il rien meilleur, que de s’ endormir au milieu des labeurs de ceste vie & ainsi reposer en vng sempiternel sommeil.”
182.For many other instances of similarities in the use of old words, see theAppendix, I. p.497.
182.For many other instances of similarities in the use of old words, see theAppendix, I. p.497.
183.Were it only for the elegance and neat turn of the lines, we insert an epigram on a dog, by Joachim du Bellay, given in his Latin Poems, printed at Paris in 1569,—“Latratu fures excepi;—mutus amantes;Sic placui domino, sic placui dominæ.”i.e.“With barking the thieves I awaited,—in silence the lovers;So pleased I the master,—so pleased I the mistress.”
183.Were it only for the elegance and neat turn of the lines, we insert an epigram on a dog, by Joachim du Bellay, given in his Latin Poems, printed at Paris in 1569,—
“Latratu fures excepi;—mutus amantes;Sic placui domino, sic placui dominæ.”
“Latratu fures excepi;—mutus amantes;Sic placui domino, sic placui dominæ.”
“Latratu fures excepi;—mutus amantes;Sic placui domino, sic placui dominæ.”
“Latratu fures excepi;—mutus amantes;
Sic placui domino, sic placui dominæ.”
i.e.
“With barking the thieves I awaited,—in silence the lovers;So pleased I the master,—so pleased I the mistress.”
“With barking the thieves I awaited,—in silence the lovers;So pleased I the master,—so pleased I the mistress.”
“With barking the thieves I awaited,—in silence the lovers;So pleased I the master,—so pleased I the mistress.”
“With barking the thieves I awaited,—in silence the lovers;
So pleased I the master,—so pleased I the mistress.”
184.“Tarre,”i.e.provoke or urge; see Johnson and Steevens’Shakespeare, vol. ix. p. 48, note.
184.“Tarre,”i.e.provoke or urge; see Johnson and Steevens’Shakespeare, vol. ix. p. 48, note.
185.See “Horace his Arte of Poetrie, pistles, and satyres, englished” by Thomas Drant, 410, 1567.
185.See “Horace his Arte of Poetrie, pistles, and satyres, englished” by Thomas Drant, 410, 1567.
186.The character, however, of the animal is named inMidsummer Night’s Dream(act ii. sc. 1, l. 181), where Titania may look—“On meddling monkey, or on busy ape.”
186.The character, however, of the animal is named inMidsummer Night’s Dream(act ii. sc. 1, l. 181), where Titania may look—
“On meddling monkey, or on busy ape.”
“On meddling monkey, or on busy ape.”
“On meddling monkey, or on busy ape.”
“On meddling monkey, or on busy ape.”
187.See woodcut in this volume, p. 37.
187.See woodcut in this volume, p. 37.
Transcriber’s NoteThe table at the end of this note summarizes any corrections to the text that have been deemed to be printer’s errors. Proper names have been mostly allowed to stand as well, given the vagaries of spelling and translation in the originals, with the exception of Diane of Poi[c]tiers, whose name is consistently spelled without the ‘c’, save in the one instance noted.The paragraph at the bottom of p.19, beginning with ‘For the nature of Fictile ornamentation...’ ends with a double quotation mark which is unmatched. It is not clear where the quotation begins, since the passage seems to be partly paraphrasing. The quotation has been allowed to stand.The spelling of the emblem-writer ‘Cœlius’ in the General Index disagrees with that given in the table on p.89as ‘Cælius’.On p. 39, an illustration serves as a border for the text. This has been approximated here, but, depending on browser settings, may not display correctly.On p. 289 and p. 418, the ornate dropcap letters for ‘F’ and ‘L’ on the opening lines of poetry has not been reproduced, but can be seen here.The text makes frequent use of now-obsolete contractions, ligatures, and scribal abbreviations.The Greek terminal -os (osος) ligature is rendered here using an inline image.The Greek terminal -os ligature is given simply asοςοςThe Latin terminal -que (queque) is rendered as ‘q́₃que’. There is a French terminal ‘e’ which appears with a slash asé. This is rendered as ‘é̩[e/]̩’.The index entry for the Latin phraseMalè parta, malè dilabunturincludes a reference to p. 502, where it is not mentioned. The emblem associated with the phrase appears on p.487. The incorrect page reference was retained, but a link is provided to the correct location.p.5n.9[“]Quidam ...Added.p.79Bartholo[æm/mæ]us TaëgiusTransposed.p.129of his temper and inclination.[”]Added.p.174Pericles, Prince of Tyre,” was first pu[b]lishedAdded.p.183n.106used by Diana of Poi[c]tiersRemoved.p.257[“]O thou great thunder-darter of OlympusAdded.p.271Of an instrume[u/n]tCorrected.p.545Brucioli’sTrattato della sphera, 1543, Zodiac, Plate [XIV/XIII]., 353.Corrected.p.562Pignorius,Vetustissimæ tabulæ, 1605[, 95];Added.p.564Rubens, d[e/i]sciple of VæniusCorrected.p.565Servati gratia [av/ciu]isCorrected.p.566Dramatic c[e/a]reer, 1590–1615Corrected.
Transcriber’s Note
Transcriber’s Note
Transcriber’s Note
The table at the end of this note summarizes any corrections to the text that have been deemed to be printer’s errors. Proper names have been mostly allowed to stand as well, given the vagaries of spelling and translation in the originals, with the exception of Diane of Poi[c]tiers, whose name is consistently spelled without the ‘c’, save in the one instance noted.
The paragraph at the bottom of p.19, beginning with ‘For the nature of Fictile ornamentation...’ ends with a double quotation mark which is unmatched. It is not clear where the quotation begins, since the passage seems to be partly paraphrasing. The quotation has been allowed to stand.
The spelling of the emblem-writer ‘Cœlius’ in the General Index disagrees with that given in the table on p.89as ‘Cælius’.
On p. 39, an illustration serves as a border for the text. This has been approximated here, but, depending on browser settings, may not display correctly.
On p. 289 and p. 418, the ornate dropcap letters for ‘F’ and ‘L’ on the opening lines of poetry has not been reproduced, but can be seen here.
The text makes frequent use of now-obsolete contractions, ligatures, and scribal abbreviations.The Greek terminal -os (osος) ligature is rendered here using an inline image.The Greek terminal -os ligature is given simply asοςοςThe Latin terminal -que (queque) is rendered as ‘q́₃que’. There is a French terminal ‘e’ which appears with a slash asé. This is rendered as ‘é̩[e/]̩’.
The index entry for the Latin phraseMalè parta, malè dilabunturincludes a reference to p. 502, where it is not mentioned. The emblem associated with the phrase appears on p.487. The incorrect page reference was retained, but a link is provided to the correct location.