our pictorial illustration supplied him with suggestions, and we offer it merely to show that Emblem writers, as well as others, found in falconry the source of many a poetical expression.* The Italian we quote from, Giovio's "SENTENTIOSE IMPRESE" (Lyons, 1562, p. 41), makes it a mark "of the true nobility;" but by adding, "So more important things give place," implies that it was wrong to let mere amusement occupy the time for serious affairs.

To mention only Joachim Camerarius, edition 1596, Ex Volatilibus (Emb. 29-34); here are no less than five separate devices connected with Hawking or Falconry.

Thus we interpret the motto and the stanza,

Falconers form part of the retinue of the drama (2 Henry VI., act ii. sc. I, 1. 1, vol. v. p. 132), and the dialogue at St. Albans even illustrates the expression, "Nobil' è quel, ch'è di virtù dotato,"

"Q. Marg. Believe me, lords, for flying at the brook,
I saw not better sport these seven years' day :
Yet, by your leave, the wind was very high;

And, ten to one, old Joan had not gone out.

K. Henry. But what a point, my lord, your falcon made,
And what a pitch she flew above the rest!
To see how God in all his creatures works!
Yea, man and birds are fain of climbing high.
Suf. No marvel, an it like your majesty,
My lord protector's hawks do tower so well;
They know their master likes to be aloft,
And bears his thoughts above his falcon's pitch.

Glo. My lord, 'tis but a base ignoble mind
That mounts no higher than a bird can soar.”

On many other occasions Shakespeare shows his familiarity with the whole art and mysteries of hawking. Thus Christophero Sly is asked (Taming of the Shrew, Introduction, sc. 2, 1. 41, vol. iii. p. 10),—

"Dost thou love hawking? Thou hast hawks will soar
Above the morning lark."

And Petruchio, after the supper scene, when he had thrown about the meat and beaten the servants, quietly congratulates himself on having "politicly began his reign" (act iv. sc. I, 1. 174, vol. iii. p. 67),—

My falcon now is sharp and passing empty,
And till she stoop she must not be full-gorged;
For then she never looks upon her lure.
Another way I have to man my haggard,
To make her come and know her keeper's call,
That is, to watch her, as we watch these kites
That bate and beat and will not be obedient."

Touchstone, too, in As You Like It (act iii. sc. 3, l. 67, vol. ii. p. 427), hooking several comparisons together, introduces hawking among them: "As the ox hath his bow, sir, the horse his curb, and the falcon her bells, so man hath his desires; and as pigeons bill, so wedlock will be nibbling."

Also in Macbeth (act ii. sc. 4, l. 10, vol. vii. p. 459), after "hours dreadful and things strange," so "that darkness does the face of earth entomb, when living light should kiss it," the Old Man declares,—

To renew our youth, like the eagle's, is an old scriptural expression (Psalms, ciii. 5); and various are the legends and interpretations belonging to the phrase. We must not wander among these, but may mention one which is given by Joachim Camerarius, Ex Volatilibus (Emb. 34), for which he quotes Gesner as authority, how in the solar rays, hawks or falcons, throwing off their old feathers, are accustomed to set right their defects, and so to renew their youth.

* Take an example from the Paraphrase in an old Psalter: “The arne,” ¿.e. the eagle, "when he is greved with grete elde, his neb waxis so gretely, that he may nogt open his mouth and take mete: bot then he smytes his neb to the stane, and has away the slogh, and then he gaes til mete, and he commes yong a gayne. Swa Crist duse a way fra us oure elde of syn and mortalite, that settes us to ete oure brede in hevene, and newes us in hym."

i.e.

Camerarius, 1596.

Exuviis vitii abjectis, decus indue reči,
Ad folem ut plumas accipiter renovat.

"Sin's spoils cast off, man righteousness assumes,
As in the sun the hawk renews its plumes."

The thought of the sun's influence in renovating what is decayed is unintentionally advanced by the jealousy of Adriana in the Comedy of Errors (act ii. sc. 1, 1. 97, vol. i. p. 411), when to her sister Luciana she blames her husband Antipholus of Ephesus,

"What ruins are in me that can be found
By him not ruin'd? then is he the ground
Of my defeatures. My decayed fair

A sunny look of his would soon repair."

In the Cymbeline (act i. sc. 1, 1. 130, vol. ix. p. 167), Posthumus Leonatus, the husband of Imogen, is banished with great fierceness by her father, Cymbeline, King of Britain. A

passage between daughter and father contains the same notion

as that in the Emblem of Camerarius,

Nil penna, fed vfus.

Paradin, 1562.

The action of the ostrich in spreading out its feathers and beating the wind while it runs, furnished a device for Paradin (fol. 23), which, with the motto, The feather nothing but the use, he employs against hypocrisy.

Whitney (p. 51) adopts motto, device, and meaning,

HE Hippocrites, that make so great a showe,

"THE

Of Sanctitie, and of Religion sounde,

Are shaddowes meere, and with out substance goe,
And beinge tri'de, are but dissemblers founde.

Theise are compar'de, vnto the Ostriche faire,

Whoe spreades her winges, yet sealdome tries the aire."

A different application is made in 1 Henry IV. (act iv. sc. 1, 1. 97, vol. iv. p. 317), yet the figure of the bird with outstretching wings would readily supply the comparison employed by Vernon while speaking to Hotspur of "the nimbled-footed madcap Prince of Wales, and his comrades,"

"All furnish'd, all in arms;