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NOTES AND QUERIES. The VOLUME, JANUARY to JUNE, 1884, with the INDEX, PRICE 10s. 6d. IS NEARLY READY. Cases for Binding, price 1s. 3d. post free. JOHN C. FRANCIS, 20, Wellington Street, Strand, London, W.C. LONDON, SATURDAY, JULY 26, 1884. CONTENTS.- N° 239. -Parallel Passages, 66. brities of his era, and became Poet Laureate. His first known publication was religious, and is entitled The Harmony of the Church, containing Spiritual Songs and Holy Hymns, 1591; but it was suppressed by authority; reprint, 1610. We shall have to deal further with this word hymns which forms a dreadful stumbling-block with our QUERIES:-Casa del Cordon - Pantograph - Bishops and Dantophilist. Drayton's next work is entitled Beards-Women in Action-Jesse Ramsden-Old London, Idea: the Shepherd's Garland, in Nine Eclogues; 67-Pounds-Char-Letter of Franklin-Society IslandsSir Hugh Trevanion-Dick Turpin's Ride-Atheism-Childe or, Rowland's Sacrifice to the Nine Muses, 1593. Childers-Shakspeare's Plays-Latin Hymn-A Wise Pre-Rowland was Drayton's nom de plume, and his caution, 68-Indices-Ev. Phil. Shirley-Charles I.'s Pictures head-title of Idea is used by Spenser in the same Josephus-Last Dying Speeches-Birds Eggs-Alessandro sense, Sonnet 45, "The fair Idea of your celestial Strada-Æneas Sylvius-Date of Fête, 69-Records of Jewish hue." The word itself means "the semblance of Births-Authors Wanted, 70. a thing,” not a reality, and is stigmatized by Shakspere, Sonnet 21, as a painted beauty," i. e, something "made up." This work of Drayton's, though affected, is not bad; as a sample of pastoral verse it may pair off very well with the Shepherd's Calendar of Spenser; but, alas! in the fifth eclogue Drayton mounts his hobby, and being thus urged: "Tune thy pipe to thy Idea's praise," -Marriage of John Austin-Wheelbarrow-Translations of REPLIES:-Prince Titi, 70-Author of Hymn-Sir J. Shorter, Jobation-Portrait of St. Jerome, 74-Shakspeare's Bible- NOTES ON BOOKS:- Brinton's "Aboriginal American Notices to Correspondents, &c. Notes. A LITERARY CRAZE. These ap In reopening this subject it seems desirable to deal with the system of dedications, a habit which had grown to a ludicrous extent in Elizabethan times, and thus became the more fully exposed by the increasing activity of the press. plications or introductions, practically petitions, were primarily offered in manuscript, the printing being a secondary affair, with ulterior results not contemplated at the first institution of the practice. The printing, however, worked a practical cure and led to a modification of style, owing to the actual absurdity of publishing such high-flown adulation, meant only for the private ear. The Venus and Adonis was addressed by Shakspere to Lord Southampton, and the entry bears date at Stationers' Hall, April 18, 1593. Marlowe died in June of the same year. The interval is short, but we are not tied to these actual dates in considering the probabilities of Shakspere's allusions, because it is certain that his lordship must have had the MS. in his hands, with an offer of the dedication, before it ever appeared in print; the known usage necessitates this admission. Now as to the sonnets numbered 21, 32, 38, 78. Michael Drayton was one of the great cele he responds: "Shall I then first sing of her heavenly eye, But since that Heaven must only be the mirror*... Tell Idea how much I adore her." See Shakspere's Sonnet 21. This volume was Which long, dear friend, have slept in sable night." There can be no doubt that Drayton circulated With this preface I propose to exhibit his Idea by means of extracts (the numbers and quotations are from the latest editions): No. 3. "Thy beauty's books" (to an ideal !). When nothing else remaineth of these days, So thou shalt fly above the vulgar throng, 13. "O sweetest Shadow, how thou servest my turn!" 16. "Mongst all the creatures in this spacious round... Your beauty is the hot and splendrous Sun." Again, see Shakspere's No. 21: "Making a couplement of proud compare, With sun and moon.' It appears that Drayton's earlier production, Idea: the Shepherd's Garland, of 1593,* was fashioned in ten eclogues, but nine only are known. Each one represents a muse, and it is a fair inference that the tenth and missing eclogue was addressed to his own Ideal as the tenth muse, but withdrawn from fear of ridicule. Sir John Davies, an Elizabethan judge and wit, scored a strong point thereon, thus:"Audacious painters have nine worthies made, But poet Decius [i. e., Drayton]... With title of Tenth worthy doth her lade." This is Epigram xxv., inscribed "In Decium." The verses were no doubt very generally circulated in London, but proved too licentious for the press, so were published abroad soon after Marlowe's death. Drayton, No. 20, proceeds:"An evil spirit, your beauty haunts me still... To me it speaks whether I sleep or wake... Thus am I still provoked to every evil By this good, wicked spirit, sweet angel devil." Cf. Shakspere, 144, "Two loves I have," which had previously appeared in Passionate Pilgrim. 30. "Thou art my Vesta." 39. "I call on my divine Idea." 44. "Whilst thus my pen strives to eternize thee Age rules my lines with wrinkles in my facef... To keep thee from oblivion and the grave, Ensuing ages yet my rhymes shall cherish." 50. "To show her beauties' sov'reign power." Amour 51, of 1594, ends: Entered at Stationers' Hall, April 23, 1593, as ten eclogues, five days only after the entry of Shakspere's Venus and Adonis; they hunted in couples. † Drayton was born in 1563; these lines were written before 1594, atat. say thirty, and note the talk of "aged wrinkles." "a heaven on earth, on earth no heaven but this." 52. "That proud beauty which was my betrayer." So much for what Drayton declares to be only an Idea evolved from his imagination. It is true that in after years he tried to locate a prototype, but it is clearly a mere after-thought and palpable contradiction. In 1594 Drayton also issued his Legend of Matilda, with three consecutive stanzas in praise of Churchyard, Lodge, Daniel, and Shakspere. The last reference is to Lucrece, published in the same year and dedicated to Lord Southampton in a warm panegyric that savours very strongly of the devoted personal affection so conspicuous in the sonnets. Drayton's remarks run thus: "Lucrece... Lately revived...and here arrived... In reproducing his Matilda, this stanza was subsequently omitted, although he retained the accompanying laudations of other poets. These two writers were also brought into collision as dramatists in connexion with the Oldcastle v. Falstaff episode; but it would not involve personal feeling, and when Drayton's Elegy of Poets was addressed to Henry Reynolds he writes :"Be it said of thee, Shakspere, thou hadst as smooth a comic vein 1. Drayton fits in with the references to a poet of Sonnet 21 who lauded an ideal beauty. 2. Also to the reference, in Sonnet 38, to a "tenth_muse." 3. The omission of a complimentary allusion from the Legend of Matilda indicates irritability or animosity. (To be continued.) MAGYAR FOLK-TALES. (Continued from p. 24.) A. H. I may now proceed to consider the influence of Christianity on the tales in general. This, it will be seen, is very marked. Often strange semiChristian ideas appear amidst the most barbarous notions, suggesting to one that the story-teller has added it on the spur of the moment, to try and make his story a little more suitable to the times. In other cases it looks as if the names of the old gods had simply been changed, the character given to the Deity being one that no Christian would ever think of assigning him. Indeed, I may say there are Christian names, but certainly not Christian ideas. May hap some of the tales are the product of pagan thought just changing, and with a great deal of the old life still clinging to it. The following stories will serve as examples of this |