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tury. Newcastle, likewise afflicted, sought to borrow the charm, and was allowed to do so upon deposit of a large sum of money as guarantee for its return. The Newcastle people became so deeply convinced of its efficacy that they offered to forfeit the money if they might but keep the penny, but the Lockharts would not suffer this, and it was duly sent back. The penny is a small, triangular pebble set in a silver coin, and is said to have been part of the ransom of a Moorish chief captured by Sir Simon Lockhart in that expedition which had for its object to bury the heart of Bruce in the Holy Land. It is kept in a gold casket, a gift of Maria Theresa's. The Lee penny is said to have suggested to Scott the story

of the "Talisman.'

A Fellow of the Royal Horticultural Society has just received a quantity of seeds collected at altitudes between 7,000ft. and 14,500ft. by the small expedition which recently spent five weeks on Mount Ruwenzori. Some of the seeds are not yet identified, but there are certainly among them those of the giant Lobelia, which bears a spike of blue flowers 15ft. high; of the tree Sevecio; a tree Heath and a tree St. John's Wort, which, with its flame-coloured flowers, is said to be the crowning glory of the Ruwenzori flora. The usual Alpine flowers are not found on this mountain.

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ᎡᎬ EADERS may find it useful to have note of the date on which The Times published the text of two letters of Cardinal Mercier to the Archbishop of Canterbury, supplied to them by Viscount Halifax, who took occasion to do so by the death of the Abbé Portal. The one letter is dated Oct. 25, 1925; the other Jan. 21, 1926-two days before the writer's death. They will be found in The Times of July 5, at p. 21. THE interesting article on the "physionotrace which Miss Mary Martin contributed to the Connoisseur for March, is continued in the Connoisseur for this month. It is devoted chiefly to the work of Saint Memin, the artist who made the physiono trace popular in America. Saint Memin, born at Dijon in 1770, a soldier in his early years, and a refugee from the Revolution, had a great talent for drawing and turned to this for subsistence in exile. He constructed the apparatus for the physionotrace from a description of that used by Chrétien, and during the twenty years or so of his life in America made 818 portraits with it. He returned to France in 1814, and before start

ing, out of sheer delight broke up the apparatus. Miss Martin gives twenty-three reproductions of these portraits, of which nineteen are by Saint Memin. All are interesting and many charming. They include a portrait of Mme Delacroix, another refugee, who after much hardship, founded a grocery store, in New York, where she and her two beautiful daughters were the first persons to dispense ice cream to the public of the United States.

SIR Israel Gollancz has found in a manuthe National Library of Wales, some lines, script of the Salisbury family, now in hitherto unprinted, by Henry Salisbury, on the subject of Christopher Columbus, a hero of whom, singularly enough, poets of the sixteenth and seventeenth century said little. The lines appear in a letter of his to The Times of July 6, which recalls his discovery, in the same manuscript, of the only known contemporary verses in praise of Hemings and Condell for the First Folio also, Sir Israel gave reason for believing, by Sir Henry Salisbury (or Salesbury). This man was son of Sir John Salisbury of Lleweni, and father of the poet Sir Thomas Salisbury. LA ADY Wolseley, whose scheme for collecting records of Sussex villages we noticed in our last number (v. ante p. 1) asks us to state that the address at which contributions may be sent to her is: Culpeper's Ardingly,

Sussex.

IN view of the Eton and Harrow match,

and the four consecutive draws which have terminated it, Mr. John Galsworthy made in The Times of July 5 the suggestion that, in this match, the ingoing batsman should always leave the pavilion gate for the wicket as the outgoing batsman reaches the pavilion gate. There being thirty to forty intervals on the fall of wickets, in each of which one minute at least (on the average) is lost, more than half-an-hour might in this last year's match, and not impossibly that way be saved-long enough to have finished of the year before. Mr. Galsworthy concluded by inviting reasons against this. AT the sale of the late Humphry Ward's

books, at Sotheby's on July 5 a set of first editions of Henry James's works, in 27 volumes (1880-1911) was sold for £30. Many of them were presentation copies to Mrs. Humphry Ward bearing inscription. Among these books was also a first edition of Jane Austen's Pride and Prejudice' for which £17 10s. was paid.

Literary and Historical and the other without, an r.

one would consistently spell the name with,

MR.

Notes.

'TIMON OF ATHENS.'

(See ante, p. 273.)

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R. S. R. GOLDING's forcible attack upon my theory as to the origination and authorship of Timon of Athens' calls for a reply. I shall endeavour to show that his attack-which is chiefly directed against my attribution of the bulk of the Timon-Apemantus dialogue to Day-is less damaging to my case than it appears. Indeed MR. GOLDDING'S comment upon the danger of my methods of detection and the arguments by

which he seeks to refute me show that he

has completely misunderstood those methods and the nature of the evidence upon which my conclusions were based.

There is first a misstatement in the introductory paragraph of MR. GOLDING'S article which I desire to correct. MR. GOLDING asserts that I was led to the infer

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Apermantus

I

ence of a collaboration in the original text by the spelling Apemantus in 1. i., II. ii. and IV. iii., and (" in the other scenes in which the name occurs. This is not so, and I have endeavoured to make this quite clear in my paper. was led to infer that the Timon-Apemantus dialogue in I., ii., was from a different hand than the other passages of dialogue between these characters by the difference in its style, by the total absence in this scene of characteristic features of the other dialogues. I had no reason whatever to suppose that the spelling of the Folio would afford the slightest confirmation of this conclusion in face of the statement of a previous critic that the spelling Apermantus appeared "frequently but not significantly" in the Folio, and it can therefore be imagined with what satisfaction I discovered that the name (which occurs fortythree times in I. i., and eighteen in I. ii.) was invariably spelt Apemantus and abbreviated to Ape" in the dialogue in the first and scene, Apermantus" abbreviated to "Aper" in the second. It is true that the change in spelling need not necessarily imply a difference in authorship; it might be due to the fact that the scenes were set up by different compositors. But with two compositors setting from the same author's script it is difficult to believe that

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The passages of brusque, staccato dialogue between Timon and Apemantus were attributed by me to Day because I found them exactly similar in style to the bulk of the prose in 'Humour out of Breath. 1 affirmed that this, and this alone of Day's plays (I might have said of all the Elizabethan plays known to me) contained "long, continuous passages of prose indistinguishable from that found in the Timon-Apemantus scenes," adding that it was "not a question of picking out here and there a passage," but that the Timon-like dialogue fitted more than half the play. Any reader can test this for himself by comparing the 280 odd lines I have assigned to Day in Timon' (I. i. 178-249, 264-282, II. ii. 50-120, IV. iii. 276-400) with the whole of the prose in II. i., III. i. iii. and iv. and IV. iii. of 'Humour out of Breath.'

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To me the resemblance was so close that the inference that these prose passages were from one hand appeared irresistible, and on attentively examining them in an endearesemblance I found that it was in a large vour to discover the reason for this close measure due to two characteristics they had in common-one, the habitual ommission of the pronoun "thou" after a verb in the second person singular, the other persistent quibbling, or more often the mere bandying of a word to and fro."

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If I had stated or implied that the omission of the pronoun "thou" in interrogatory speeches was peculiar to Day, MR. GOLDING'S citation of passages from Wilkins's Miseries of Enforced Marriage' or Dekker's Satiromastix • showing similar omissions would no doubt afford a complete authorship based on such rebuttal of any inference of identity of an assumption, and the same with regard to the quibbling or repetition of words upon which there is no real play.* But I have made no such suggestion. And it is, of course, upon the appearance in conjunction of the three characteristic features of the dialogue in 'Timon' and in 'Humour out of Breath -the short, staccato speeches, the constant omission of the pronoun and the persistent quibbling and bandying of words

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- that my inference of a common large quantity of dialogue precisely similar authorship was based. That MR. GOLD- in style to that of the Timon-Apemantus

scenes.

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DING has been able to discover in So long a play as Wilkins's The Miseries of MR. GOLDING further says that I have Enforced Marriage' (longer by at least a completely rejected the dual authorship of third than the whole text of "Timon') eigh-Humour our of Breath" in direct conteen similar omissions of the pronoun and tradiction to what I have written in '-Sideone or two passages of a few lines approxi- lights on Shakespeare.' I have not done so, mating in style to the 'Timon' dialogues although it is true that in discussing in no way affects the validity of my argu- 'Timon' I omitted any reference to Day's ment. The fact is that neither the prose admission that 'Humour out of Breath dialogue of Wilkins nor that of Dekker in was not "all of one man's getting." I did his Satiromastix' bears any continuous not refer to Day's denial of his sole responresemblance in style to the Timon' pas- sibility for the play because it did not apsages in question. pear to me to affect the subject under discussion, a close study of the text having satisfied me that even if the play was not "all of one man's getting," the dialogue, both verse and prose, was almost entirely of Day's writing.* In particular it seemed obvious to me that the prose passages I quoted were his because there is a considerable quantity of exactly the same kind of prose in The Isle of Gulls,' the only play which can with any certainty be attributed to Day's sole authorship. +

Since practically all the passages quoted by MR. GOLDING are from The Miseries of Enforced Marriage' it may be as well that I should add that my paper on Timon of Athens' was not written until after the close study of Wilkins's work I had made in connexion with Pericles had satisfied me that he could have had no hand whatTimon. My reasons for rejecting his claims will be apparent from what I have written about Wilkins in Sidelights on Shakespeare.' I do not think it possible for anyone who has carefully examined 'Pericles' and 'Timon' to come to the con

ever in

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clusion that the non-Shakespearean parts
of these plays are by the same author.*
MR. GOLDING expresses surprise that I
have not applied the test of the omission of
the pronoun
thou "" to 'Humour out of
Breath' itself. If, he says, 'Day's prose
is distinguishable by the omission of the
second person singular pronoun, would not
one be justified in assuming that I. iii.
II. i. ii. iii., IV. ii. of 'Humour out of
Breath' are by Day and the rest by another
writer?" To this I reply that I do not
suggest that Day's prose is distinguishable
by this feature alone, or that it is an in-
variable characteristic of his prose.
also asks why it is that I have practically
confined my attention to certain scenes in
Humour out of Breath' for my compari-
sons with Timon of Athens'; to which my
reply is that this play alone contains a

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My opinion is confirmed by Robert Boyle: "There is," says Boyle, no trace of Cyril Tourneur in Timon'; nor is there any trace of Wilkins. If there had been, I believe the investigation which I set on foot in regard to Pericles,' and which I extended to Timon,' would have given some result." ("On Wilkins's share in Shakspere's Pericles New Shakspere Society's Transactions, 1882. p. 333).

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When I observed that Day rarely repeats a phrase or allusion" I had in mind phrases or allusions of a distinctive kind the presence of his hand. MR. GOLDING such as would afford assistance in detecting apparently denies this, claiming to have found a considerable number of expressions It would repeated in Day's works. be interesting to know what these are, for evidence of this kind is especially important with a writer like Day, much of whose work is in prose and nearly all of it produced in collaboration with others.

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have no record of any collaboration between It is true, as MR. GOLDING says, that we Day and Middleton, nor are their names coupled by any contemporary writer but Jonson, who brands both as

base fellows."

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But the collaboration is on the face of it likely. Day seems scarcely ever to have written a play unaided. Both dramatists wrote in conjunction with Rowley and with Dekker, and it is known that at different times they wrote for the same Companiesthe Admiral's men, Worcester's and The

Children of the Revels.'

MR. GOLDING finds it inconceivable "that Shakespeare, with his long dramatic experience and his profound knowledge of stagecraft, would have revised with such colossal ineptitude and left in such an execrable condition the heterogeneous composition known as Timon of Athens.'"' A similar objection to the theory of Shakespeare's revision of an earlier play is raised by Fleay, who asks whether we are to believe that

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play. The case of the Henry VI.' trilogy,
to which MR. GOLDING refers is not analo-
gous. Here (at least so far as the second
and third parts of Henry VI.' are con-
cerned) Shakespeare was working over plays
which had been completed and publicly per-
formed, plays already adapted to the re-
quirements of the stage, and in no respect
inferior to the average historical drama of
the time, plays, indeed, distinctly superior
to Edward I.' and the old Henry V.'
In the case of Pericles' and 'Timon of
Athens' I assume Shakespeare to have been
working upon the drafts of rambling ill-
constructed pieces like Wilkins's 'The Mis-
eries of Enforced Marriage,' or Day, Wil-
kins and Rowley's The Travels of the three
English Brothers.' So far as 'Timon
concerned it may well be that Shakespeare
We have no
never completed his revision.
evidence that the Timon of Athens' of the

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Folio was ever acted. It is not easy to understand how any actor could have publicly declaimed the four lines of the epitaph in the final scene, in one line of which the reader is told not to seek Timon's name, and in the next the name is disclosed.

Shakespeare, working up an old play, would have left so many gross and clumsy sutures unclosed. The language of both critics seems to me a good deal more forcible than the occasion warrants. To speak of the colossal ineptitude " of the reviser and the "execrable condition" of the text of Timon is surely gross exaggeration. No doubt the discrepancies between certain passages in the play and the defects in its structure are apparent enough to a careful reader, but (except for the double epitaph at the end) they are not such as to obtrude themselves on a cursory perusal of the play THE BURIAL-PLACE OF COL. ROBERT or attract the attention of the spectator at a performance. I speak with some confidence on this point for I saw the play pre

sented at " The Old Vic." three years ago,
and was surprised to find how well it
acted, and how little one was conscious of
the "
gross sutures so evident to the critic
in the study.

Enfield.

H. DUGDALE SYKES.

PHAIRE, THE REGICIDE.

MY attention has recently been called to a statement in the Victoria County History of Hampshire, vol. iii., p. 28, which runs thus:

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the large yew tree on the left side of Under the path inside the churchyard. the tree a demarcation in the ground is all Assuming, as I do, that Shakespeare was that remains to show the spot where once called upon to adapt a play at short notice, stood a tombstone to Colonel Phayre, one of and that the task was one in which he took Charles I's regicides. He is said to have lived little interest, I think it by no means in- at Cobden's farm-house at Empshott, but to conceivable that he would have overlooked, have been buried at Newton Valence. Although or not troubled to remedy, such discrepan- many people remember the tombstone with the name clearly inscribed upon it, it has now cies and defects as one finds in Timon.' curiously enough disappeared. Either it was Ample justification for this opinion is affor-accidentally removed during the restoration of ded by 'Pericles,' written much about the same time. This play was written by Shakespeare and Wilkins, whose work I think it is clear that Shakespeare revised. All the critics assign the fifth Act of Pericles' to Shakespeare, and it is in this Act that we find allusions to an incident and also to actual speeches made by the characters which do not appear in the text, but which clearly must have been in the original draft of the

the church in 1872, or a snowstorm caused it to fall and then it was carried away, but no one knows where or how.

This statement is repeated in the very dainty Country Life Diary' of the Selborne Society: "in the churchyard lies buried Colonel Fayre, who was one of those who condemned Charles I. to death.'

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These statements vary greatly from that in Smith's History of Cork,' Book ii., p.

206 (1815 edition): "He died peaceably near Cork and was buried in the anabaptist burying-yard of that city."

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Smith's book was published in 1749 or 1750, and on March 11, 1750/1, Alexander Herbert Phaire, son of the Regicide," writing to Onesipherus Phaire, great-grandson of the Regicide," flatly contradicts Smith's statement: "As to the place of burial he [Smith] assigns my Father, It was not thot. of 50 years after his death, being built but about 20 years ago." And Alexander Herbert Phaire continues as follows: I know not who that Sam!. Baker was, that subscribs my Father's Loving Brother, there was an intimacy between Captain Baker* of Killegrohan and my Father; for his Lands was joyn'd in Baker's Patent." It is unquestionable that a Captain Robert ffarre resided at Nore in the parish of Newton Valence, Hants. The parish registers have numerous references to him from 1664 onwards and, curiously enough, he had kinsfolk named Baker, as is shown by the following entry in the registers: "October 5, 1693, Anne Baker, kinswoman of Capt. ffarr was buryed in linen."

The writer of the Victoria County History of Hants could not have been aware of any relationship between Colonel Robert Phaire and the family of Baker, a relationship disclosed nowhere else save in the letter quoted above, the original of which is in the possession of Sir Arthur Phayre of Oxford, and his statement is a mere guess of his own or of some person whom he consulted.

Colonel Robert Phaire died in the autumn of 1682 at Grange, near Cork. An interval of two months occurred between the signature of his will and the date of its probate. He was very probably buried in the churchyard of Athnowen (Ovens), near Cork, in which parish he resided and his descendants after him down to the very close of the eighteenth century. But a thorough search of the tombstones in this churchyard reveals no trace of his final resting-place. Captain Robert ffare, on the other hand, of Noare als Owens, parish of Newton Valence, Co. Hants, gentleman,' "made his will on July 1, 1693, and probate of it was granted on May 21, 1694 (Archdeaconry Court of Winchester). The will makes no mention of any Baker relatives, though it does mention my leasehold messuage called Bakers of the Bridge." The parish registers

*He was John Baker.

do not seem, however. to contain any record of his burial. W. H. WELPLY.

Ulster Club, Belfast.

SOME ADDITIONAL NOTES ON THE PEDIGREE OF REYNOLDS OF LOUGHSCUR.

(See ante, p. 3.)

1. HUMPHREY REYNOLDS (ante, p. 5, col. 1) was Deputy Auditor in 1607, and on April 20 signed a receipt for rent of religious houses. He had a re-grant of the office of Gaoler of Leitrim County in conjunction with his father April 2, 1609, and the survivor of them. On July 18, (8 Jas. I.) 1611, he had a grant from the King, viz. :-A licence to hold a Monday market, and a fair on Michaelmas Day, and the day after at Downamorra, Co. Mayo; and a Wednesday market and a fair on St. Brandarin's Day, 16 May and the day after at grant to his father of the fort of Clonmagh Clone, Co. Leitrim, rent 13s. 4d. Irish. The or Cloyne, was also made to him in conjunction.

1616, a grant of the wardship of Annabula, On the last day of February (14 Jas. I.) heiresses of Teige Roe O'Daily, together with Anne, and Mary O'Daily, daughters and coof land of the said Teige in Galway County a rent charge of 3s. 4d. from four cartrons for a fine of £2, Irish.

The King's letter dated Hampton Court, 28 Sept. (17 Jas. I.) 1619, appointed him to the office of auditor of the Court of Wards and Liveries in Ireland, during his natural life, with the fee of £26 13s. 4d., English, and all fees, profits and allowances incident to the same, with power to appoint a deputy. The next paragraph taken from Rot. Pat. 17 Jas. I., part iii., also numbered 11, says: "Grant from the King to Humphrey Reynolds of the Office of Auditor, &c., with fees &c., mentioned in the King's letter.— 25 Jan., 17th year (1620).' In 1623 he was receiving an increased annuity in respect to this office, desired by the Court of Wards, and approved by the Lords. In 1627, he was with others of the Co. of Leitrim Charles and Thomas Reynolds-appointed commissioner for said County (presumably) for raising money for the army; the Leitrim proportion being £400, English.

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The Will of HUMPHREY REYNOLDS of Loughscur.

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