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This probably was the origin of laying a ghost in the Red Sea. In an amusing poem, entitled "The Ghost of a boiled Scrag of Mutton," which appeared in the Flowers of Literature about sixty years ago, there was the following verse embodying the idea:
"The scholar was versed in all magical lore, Most famous was he throughout college; To the Red Sea full many an unquiet ghost, To repose with king Pharaoh and his mighty host, He had sent through his powerful knowledge." F. C. H. Captain Grose, in his Provincial Glossary, says:
"Of all places the most common, and what a ghost least likes, is the Red Sea: it being related, in many instances, that ghosts have most earnestly besought the exorcists not to confine them in that place. It is nevertheless considered as an indisputable fact that there are an infinite number laid there, perhaps from its being a safer prison than any other near at hand.”
Although this passage does not answer the question, it may be of use to your correspondent E. L. R. F. W. S. ENGRAVED OUTLINES: No. VIII. (3rd S. viii. 29.)"Suenan chirimias, y sale escuchando el Arzobispo DON BERNARDO, y en acabando de tocar, cantan dentro. "Music. En el pozo está el tesoro
Mas rico que la plata, y mas que el oro,
bearer to William the Conqueror, bore eagles for their arms. I shall be very much obliged for an authority for this statement, as it appears from a Roll of Arms of the reign of Edward I. in the possession of the Society of Antiquaries, and published in The Archæologia (vol. xxxix. pp. 402-421) that the arms of Rauf Thorney were argent a maunch gules. I notice (p. 420) that to Lucas Thani are assigned-azure, three bars argent; and to Richard Thani-argent, six eagles displayed, sable. I conceive that the last-mentioned persons were of a different family, and that the descendants of the Conqueror's standard-bearer bore the arms first blazoned. Any definite information upon this point will be esteemed a favour. JOHN MACLEAN.
JOHNNY PEEP (3rd S. xii. 5.)-In reply to the query of H. K., I beg to state that I assigned the story to Drummond of Hawthornden on the authority of Ruddiman, the poet's biographer, as quoted in Chambers's Lives of Illustrious Scotsmen. I was quite aware that the anecdote had been popularly connected with Burns, and that it was also assigned to some other poets. Whether the story is correctly attributed to Drummond I cannot say, but most certainly it has been erroneously given to Burns, unless we are disposed to accuse the great Scottish bard of plagiarism, of which he was certainly incapable. It is, I find, extremely difficult to obtain the original version of a story. The anecdote about Burns and the Cumberland yeomen I feel satisfied had no foundation whatever. CHARLES ROGERS, LL.D. 2, Heath Terrace, Lewisham, S.E.
"My Cousin Nicholas" was begun in Blackwood, No. ccxx., April, 1834, vol. xxxiv. It is possible the title may have been altered to "Nick's Longtailed Coat," but still I should be glad of any information as to why it is omitted from the Ingoldsby Legends, amongst which it seems to deserve a place quite as much as "Misadventures at Margate," or "Nursery Reminiscences," &c. &c. R. C. S. W. WALSH OF CASTLE HOEL (3rd S._xii. 14.). Apart from the question of family, I should be glad if PINGATORIS would favour me with the details of his reference (Harl. MS. No. 1143), as I am unable to consult it. May I ask at what
period, and by whom, the arms mentioned were assigned to Kadwalader ap Gronwy, for this reason, that heraldic ordinaries, I am inclined to believe, were of Norman introduction, and are, so far as I am aware, never found in the arms of ancient Keltic (?) families? I lately heard some very suggestive remarks, by an Irish scholar, on the question of the latter arms, but should scarcely be warranted in bringing them forward in aid of my hypothesis. The prototype of the arms of Walsh of Castle Hoel, according to my suggestion, are amongst the most ancient in the kingdom (as will be seen by a reference to a copy of Dugdale's Warwickshire, in the British Museum), and therefore there is no disparagement of Walsh. Sp.
BUTTERFLY (3rd S. xi. 342, 449, 506.)-Perhaps it is worth while to add to the quotations already given, the following one from one of the "old masters" of the English language:
"And so befel that as he cast his eye
Cambridge. TOMB AT BARBADOS (3rd S. xii. 9.)-There was a full account of this tomb, or rather vault, of the Chase family, with a drawing of the position of the displaced coffins, in The Spiritualist Magazine about three years ago, and another by myself in No. 335 of the Dublin University Magazine (1860). The builder and first owner of the vault was a Mr. Elliott. After a lapse of many years, there being no representative in the island of the Elliott family, Colonel Thomas Chase took possession of the vault, and then commenced the phenomena in question.
A. C. M. will find this mystery related and discussed in Once a Week, 1st series, vol. xii. pp. 319, 476, 560. At p. 476 it is suggested that an influx of water might cause the disturbance of the coffins. JOHN ADDIS, JUN.
TWO-FACED PICTURES (3rd S. xi. 257, 423, 510.) There have been signs constructed on this principle in this city, except that three faces were presented. A person coming up the street would see the likeness of one person, and when directly opposite of another, whilst one coming down the street would see a third likeness. A brewer's firm, consisting of three persons, had their names placed upon their sign in this way. UNEDA. Philadelphia.
I have just found what is perhaps the oldest recorded instance of a two-faced picture in a note on the absurd apeing of Alexander by Caracalla, in Gibbon's Decline and Fall, Oxford ed. 1827, chap. vi. p.165. Caricatures had been seen by Herodían (lib. iv. p. 154), " in which a figure was
drawn with one side of the face like Alexander, and the other like Caracalla." ARCHIMEDES.
PLAYS AT ETON (3rd S. xi. 376, 467.) — Having looked in vain for an answer to the question of R. I. respecting plays at Eton, I beg to tell him all I recollect on the matter, which, however, is but little. I left at election 1831, and early in that year, or late in 1830, a play was acted in Long Chamber. We rehearsed for The Rivals; I say "we," for I was at first a member of the corps dramatique, but was soon found to be so hopelessly bad, that the manager was compelled to reject my services, and I resigned at once and for ever all pretensions to histrionic fame. If my recollection does not fail me, after several rehearsals this play was given up, because "Bob Acres " was not satisfied with his performance of that part. What other play was substituted I am not quite sure, but I am confident it was not an original piece, written or adapted for the occasion. I think I heard afterwards that "Keate" expressed his disapprobation of the theatrical attempt in such a manner as prevented any recurrence of the Long Chamber stage. C. Y. CRAWLEY.
OLD SEALS ON CHARTERS, ETC. (3rd S. xii. 25.) Bees' wax was used for the more ancient seals.
What is now used is lac. (See Kitto, Matt. xxvii. 66; also "N. & Q." 3rd S. xi. 527.) The method of the Arabs at the present day is of great antiquity; "The seal-ring is used for signing letters and other writings; and its impression is considered more valid than a sign manual." (Gen. xli. 42, Job ix. 7.) The modern Egyptians "dab a little ink upon it with one of the fingers, and it is having first touched his tongue with another upon the the person who uses it finger, and moistened the place on the paper which is to be stamped." (Lane's Mod. Egyp., L. E. K., i. 44.) The necessity of sealing arose from the universal ignorance of writing.
T. J. BUCKTON.
"MORNING'S PRIDE" (3rd S. xii. 36.)—If MR. HOSKYNS-ABRAHALL will look again at his Christian Year he will see it is almost inevitable that Mr. Keble referred to the rainbow, mentioned in verse 2, as the context to the word pride in verse 3, which runs on without any break in the language; thus we have "from thee," i. e. from the rainbow, "the swain takes timely warning,' &c. Shower and rainbow, rainbow and showers frequently alternate with great rapidity. I remember to have counted three different rainbows in one mountain ramble of about ninety minutes, in Westmoreland; but in my former remarks I referred more particularly to the counties of Middlesex, Bucks, and Berks. It appears that "Morning's Pride" is called a shower by some, a mist by others; do we not all mean the same? A mist
may rise in one locality, and fall as a shower at a few miles' distance. This subject has been well treated by an artist in the Art-Journal, where he presents studies of mist rising here and falling there almost within compass of the same landscape. A. H.
VIS (3rd S. xii. 25.)-There are many examples to be met with in other languages, but I think all may be traced up to the words of Solomon, Eccles. "Money answers all things." S. L. CONSECRATION OF A CHURCH BY AN ARCHDEACON (3rd S. xii. 24.) — The archdeacon is the bishop's vicegerent or substitute, having ecclesiastical dignity and jurisdiction next after the bishop. He examines candidates for holy orders, and inducts clerks, upon receipt of the bishop's mandate. (Wood's Inst.) EDWARD J. WOOD.
כסף יענה את הכל:-:19 .x
The great works of great poets should be translated by masters of the art. George Chapman, Pope, and Cowper, busied themselves to tell in English the great Homeric story; and glorious John did not think it beneath him to translate for English readers the writings of the Mantuan Bard. In the same way Dante has here found an able and sympathising translator in one who has won his own wreath of laurel, Henry Wadsworth Longfellow. Mr. Longfellow has many qualifications for the labour of love which he has undertaken. In the first place he has the great one of true poetic feeling, which enables him to sympathise with his author, and thoroughly enter into his spirit and feeling. Next, he is well versed in the wide range of Dantesque scholarship: so that the three volumes before us present us, not only with an admirable version of The Divine Comedy, but a large body of notes and illustrations, well calculated to make the English reader understand and appreciate more fully the scope and object of that mighty work.
A Martyr to Bibliography: a Notice of the Life and Works of Joseph-Marie Querard, Bibliographer. Principally taken from the Autobiography of Mar Jozon D'Erquar (Anagram). With the Notices of Gustave Brunet, J. Asseyat, and Paul Lacroix (Bibliophile Jacob), and a List of Bibliographical Terms after Perquin. With Notes and Index. By Olphar Thomas, Esq., &c. (Russell Smith.)
A little volume of great interest and value. Of great interest for the amount of information it contains relative to the life and labours of one who was in sooth a martyr to the art he loved so well; and of great value because it may awaken in all who read it a juster estimate of the importance of bibliography. Our readers will probably recognise in the anagrammatic name of the author a gentleman to whom "N. & Q." has been frequently indebted for valuable bibliographical communications,
A Complete Concordance to the Poetical Works of John Milton. By Charles Baxter Cleveland, LL.D., Author of the "Compendiums of English, American, and Classical Literature." (S. Low.)
What, the reader may exclaim, another Concordance to Milton! Yes, indeed, and not before it was wanted. Dr. Cleveland tells us that, having occasion to consult first two references to which he turned to be wrong. Todd's Index in connection with Lycidas, he found the
Further examination disclosed sixty-three mistakes in its references to that short poem of 193 lines. More or less time daily, for upwards of three years, did the Doctor devote to a Verbal Index of Milton's Poetical Works, in the course of which he discovered no less than three thousand three hundred and sixty-two mistakes in the Index of his predecessor. This Concordance was originally published twelve years ago; since that its accuracy has been tested by private scholarship and public criticism, and not found wanting. Mr. Low has therefore done good service by placing this handsome volume, which is applicable to all editions, in the hands of the admirers
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NOTES:- Last on Shakespeare, 61-Verna: Creole, &c., 62 'Empress of Morocco:" Macbeth" Travesty, 63Lucretius French Notions of England Improvement" Thomas Moore The Caribs - EmigrantsMottoes of Companies, 61. QUERIES: "Blessing of the Bells"- John Bruen, of Bruen Stapleford, Cheshire-Cap-a-pie-Chinese News paper Classic-Marquis D'Aytone "Excelsior"-Font Inscription Rev. J. Guthrie - Hasty Pudding. Im OD mersion in Holy Baptism-Immortal Brutes- Nomasticon Cistersiense -Assumption of a Mother's Name Surname of " Parr"-Quotations-Smith Queries-Arms of Sound, &c. Stuart of the Scotch Guard-Titles of the Judges-Dudley Woodbridge, Esq., 65. QUERIES WITH ANSWERS:- Sir John Bourchier-General Oglethorpe Richard Duke The Blacas Collection, 68. REPLIES:-John Hamilton of Bothwellhaugh, Assassin of the Regent Moray, 69-" Morning's Pride," 70-English Cardinals, 71-The Puzzle of the late Archbishop of Dublin, Ib. Poetic Pains, 72-Stool Ball-Junius, Burke,
&c. "When Adam delved," &c. - Funeral Custom Bishop Nicolson-Curfew at Newcastle-on-Tyne - Punning Mottoes-"Form Thatched Churches Query on Pope "Endeavour as a Reflective Verb But with the Morning," &c.-Penny- Conspicuous from its Absence -Palindromics-Stansfield: Smyth-Old Seals on Charters, &c.-Lines on the Eucharist-Bishop Giffard, &c.-Sir John Oldmixon-Charles Lamb's "Elia" -Translations- Manna-Louis XVI. on the Scaffold Letter from Kimbolton Library Nautical SayingOysters with an R in theMonth-Cottle Family, &c., 73. Notes on Books, &c.
LAST ON SHAKESPEARE.
So I entitle these the last remarks that I shall make on Shakespeare's plays. If any one will add them to my Shakespeare-Expositor, he will then have the whole of my labours in the correction and elucidation of those immortal dramas. "To me she speaks; she moves me for her theme." Comedy of Errors, Act II. Sc. 2. As "moves" makes very bad sense here, we might read uses, or some similar word; but I am strongly persuaded that the poet's word was loves, and, and m being adjacent letters, the compositor, by a most common mistake, took up the latterwe have, I think, in our poet two instances of this confusion of even t and w- -and as "moves" was a good English word, the error was not detected. "She loves me for her theme!"-i. e. she pretends to love me, to have a theme to expatiate on, as she has been doing pronounced in a tone of utter astonishment, must have had a most comic effect. In my Edition I heedlessly followed Singer in reading, with Collier's folio, means for "moves here, and draws for "drives" three lines lower down. This speech of Antipholus, and another towards the end, should be marked Aside. In three of the following speeches we should give Adr. not Luc., for Luciana is throughout of a
sweet, gentle character. The last speech is justly given to her. By the way, in King John, Act II. Sc. 1, the first and third speeches should be headed K. Philip, and not Lewis.
"Me shall you find ready and willing." Taming of the Shrew, Act IV. Sc. 4.
A word or more has evidently been lost at the end. In my Edition and Expositor I supplied both; but I find that elsewhere this word always precedes those with which it is joined, The lost words may then have been as you, or at once, or something similar.
"The fairest grant is the necessity."
Much Ado about Nothing, Act I. Sc. 1. Those who have written notes on this did not understand it, and perhaps the same may be true of those who are silent. Yet the meaning is plain, though peculiarly expressed. It is this: the fairest, most gracious grant of your suit by Hero is the necessity, the thing needed, what we want. It is not improbable that the poet wrote "is thy necessity," which would make the passage less enigmatic.
"The luce is the fresh fish; the salt fish is an old coat."-Merry Wives of Windsor, Act I. Sc. 1.
Shallow had asserted that "the dozen white luces was an old coat, and Sir Hugh had misunderstood him. He here corrects him, telling him that the luce was the fresh-water fish of that name. He then adds, "the salt fish is an old coat too," if he was alluding, as is supposed, to the arms of the Fishmongers' Company, "Azure, two sea-luces in saltire with coronets over their mouths"; or he may have only reiterated his assertion, saying "the same fish is an old coat," and the printer, misled by "fresh fish," may have made it "salt fish."
"That no dram of a scruple, no scruple of a scruple." Twelfth Night, Act III. Sc. 4. Whether the critics have understood this or not, I cannot say, as I have never seen a note on it; but, to my shame, I must honestly confess that I myself have misunderstood it, in the strangest manner. I could of course explain how I came to do so, but "it skills not." To understand it, we must take the first and last "scruple" in the moral sense, the second as the weight, the third part of the dram. I owe this simple and natural explanation to J. J. A. Boase, Esq., of Alverton Vean, Penzance, the best Shakespearian I have ever known.
"And to thrill and shake,
Even at the crying of your nation's crow, Thinking his voice an armed Englishman." King John, Act V. Sc. 2. Here again we have nonsense; for no one has ever heard of the crow as peculiar to France. Collier's folio read crowing and cock for "crying"