diff options
| author | Roger Frank <rfrank@pglaf.org> | 2025-10-14 20:10:38 -0700 |
|---|---|---|
| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-14 20:10:38 -0700 |
| commit | 4d0397996906ba68c103fa332ed1ac81fe96dfb6 (patch) | |
| tree | 2b775dc6be5e542c964299d72e3d0ce9b42a63d7 /38574-h | |
Diffstat (limited to '38574-h')
| -rw-r--r-- | 38574-h/38574-h.htm | 3192 | ||||
| -rw-r--r-- | 38574-h/images/cover.jpg | bin | 0 -> 59219 bytes | |||
| -rw-r--r-- | 38574-h/images/image01.jpg | bin | 0 -> 6568 bytes |
3 files changed, 3192 insertions, 0 deletions
diff --git a/38574-h/38574-h.htm b/38574-h/38574-h.htm new file mode 100644 index 0000000..5145547 --- /dev/null +++ b/38574-h/38574-h.htm @@ -0,0 +1,3192 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.1//EN" + "http://www.w3.org/TR/xhtml11/DTD/xhtml11.dtd"> +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en"> +<head> +<meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1" /> +<title>The Project Gutenberg eBook of Notes and Queries Vol. IV., No. 99, Saturday, September 20. 1851.</title> +<link rel="coverpage" href="images/cover.jpg" /> + +<style type="text/css"> +body { font-size:1em;text-align:justify;margin-left:10%;margin-right:10%; } +h1 span { display:block;text-align:center;margin-top:2%;margin-bottom:5%; } +h2 span { display:block;text-align:center;margin-top:7.5%;margin-bottom:1%; } +h3 span { display:block;text-align:center;margin-top:7.5%;margin-bottom:2%;font-size:107%;font-weight:normal; } +h4 span { font-weight:normal;font-size:1em;margin-left:1em; } +#idno { font-size:30%;margin-top:12%;margin-bottom:.5%; } +#id1 { font-size:45%;margin-top:2%;margin-bottom:.5%; } +#id2 { font-size:15%;margin-top:2%;margin-bottom:.5%; } +#id3 { font-size:55%;margin-top:2%;margin-bottom:15%; } +p { text-indent:1em;margin-top:.75%;margin-bottom:.75%; } +a:focus, a:active { outline:yellow solid thin;background-color:yellow; } +a:focus img, a:active img { outline:yellow solid thin; } +.author { padding-left:14em;text-indent:-1em;font-size:smaller;margin-top:-.5em;margin-bottom:2%; } +.bla { font-style:italic; } +.blockquot { text-indent:0em;margin-left:5%;margin-right:5%;margin-top:1.5%;margin-bottom:2%; } +.botnum { font-size:x-small;vertical-align:text-bottom; } +.box { font-size:smaller;margin-left:2%;margin-right:2%;margin-top:1.5%;margin-bottom:1.5%;padding:2%; } +.boxad { margin-top:2%;margin-bottom:2%;margin-left:25%;margin-right:25%;border-top:thin dotted;border-bottom:thin solid;font-size:smaller; } +.center { text-align:center; } +.center1 { text-align:center;font-size:112%;margin-top:5%;margin-bottom:2.5%; } +.center2 { text-align:center;font-size:150%; } +.fnanchor { font-size: x-small;vertical-align:text-top; } +.footnote .label { font-size: x-small;vertical-align:text-top; } +.footnote { text-indent:0em;margin-left: 5%;margin-right: 25%; } +hr.small { width: 15%; } +.i1 { padding-left:1em; } +.i3 { padding-left:3em; } +.i5 { padding-left:5em; } +.i7 { padding-left:7em; } +.i9 { padding-left:9em; } +.i11 { padding-left:11em; } +.indh { text-indent: -2em;padding-left: 2em;text-align: left; } +.indh6 {margin-left:3em;text-indent:-6em;padding-left:6em;text-align:left; } + ins { text-decoration:none;border-bottom:thin dotted } +.larger { font-size:larger;font-weight:bold; } +.left { text-align:left;font-size:smaller;margin-top:0em;margin-bottom:2%;margin-left:14%;margin-right:5%;text-indent:-3em; } +.lowercase { text-transform: lowercase; } +.noindent { text-indent: 0em; } +.pagenum { font-size:x-small;color:silver;background-color:inherit;position:absolute;left:2%;text-align:left;text-indent:0em; + font-variant:normal;text-decoration:none; } +p.cap:first-letter { float:left; clear: left; margin:0 0.1em 0 0;padding:0;font-weight:bold;font-size: x-large; } +.poem { margin-left:8%;margin-right:8%;margin-top:1%;margin-bottom:1%;padding-left:5%; } +.poem .stanza { margin:1.5em 0em 1.5em 0em; } +.right { text-align:right;font-size:smaller;margin-top:0em;margin-bottom:2%;margin-left:5%;margin-right:15%; } +.smaller { font-size:smaller; } +.smcap { font-variant:small-caps; } +strong {font-weight: normal; letter-spacing: 0.2em; margin-right: -0.2em;} +table { margin-left:auto;margin-right:auto;width:45em;border-collapse:collapse; } +td { vertical-align:bottom;padding-left:1em;padding-right:1em; } +td.tdleft { text-align:left;margin-left:0;text-indent:0; } +td.tdright { text-align:right; } +td.tdcenter { text-align:center; } +td.tdhang { text-align:left;margin-left:2em;padding-left:4em;text-indent:-2em;padding-right:1em;vertical-align:top; } +.tnbox { font-size:smaller;margin-left:10%;margin-right:12%;margin-top:5%;margin-bottom:2.5%;text-indent:0em;padding:.5em;border-top:thin dashed; } +.tnbox1 { font-size:smaller;margin-left:25%;margin-right:27%;margin-top:5%;margin-bottom:2.5%;text-indent:0em;padding:.5em;border:thin dashed; } +.toc { margin-left: 5%;margin-right: 15%;margin-top: 1.5%;margin-bottom: 3%;text-align: left; } +.topnum { font-size:x-small;vertical-align:text-top; } + ul { list-style-type:none;padding-left:2em;padding-right:5%; } + li { text-indent:-1em } + +</style> +</head> +<body> + + +<pre> + +The Project Gutenberg EBook of Notes and Queries, Vol. IV, Number 99, +September 20, 1851, by Various + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Notes and Queries, Vol. IV, Number 99, September 20, 1851 + A Medium of Inter-communication for Literary Men, Artists, + Antiquaries, Genealogists, etc. + +Author: Various + +Editor: George Bell + +Release Date: January 15, 2012 [EBook #38574] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK NOTES AND QUERIES, SEPT 20, 1851 *** + + + + +Produced by Charlene Taylor, Jonathan Ingram and the Online +Distributed Proofreading Team at https://www.pgdp.net (This +file was produced from images generously made available +by The Internet Archive/American Libraries.) + + + + + + +</pre> + + +<h1> +<span id="idno">Vol. IV.—No. 99.</span> + +<span>NOTES <small>AND</small> QUERIES:</span> + +<span id="id1"> A MEDIUM OF INTER-COMMUNICATION</span> + +<span id="id2"> FOR</span> +<span id="id3"> LITERARY MEN, ARTISTS, ANTIQUARIES, GENEALOGISTS, ETC.</span> + +</h1> + +<div class="center1"> +<p class="noindent"><b>"When found, make a note of."</b>—C<span class="smcap lowercase">APTAIN</span> C<span class="smcap lowercase">UTTLE.</span></p> +</div> + +<p class="noindent center smaller">V<span class="smcap lowercase">OL</span>. IV.—No. 99.</p> + +<p class="noindent center smaller">S<span class="smcap lowercase">ATURDAY</span>, S<span class="smcap lowercase">EPTEMBER</span> 20. 1851.</p> + +<p class="noindent center smaller"> Price Threepence. Stamped Edition, 4<i>d.</i></p> + + + +<div class="tnbox1"> + +<p>Saxon characters have been marked in braces as in {Eafel}. </p> + +</div> + +<h2><span>CONTENTS.</span></h2> + + +<p class="larger"> N<span class="smcap lowercase">OTES</span>:— </p> + +<div class="toc"> + +<p class="indh i5">Venerable Bede's Mental Arithmetic <a title="Go to page 201" href="#notes201">201</a></p> + +<p class="indh i5">Hyphenism, Hyphenic, Hyphenization <a title="Go to page 203" href="#that203">203</a></p> + +<p class="indh i5">Gray and Cowley <a title="Go to page 204" href="#for204">204</a></p> + +<p class="indh i5"> Minor Notes:—<span title="[Greek: Hypôpiazô]">Ὑπωπιάζω</span>—Meaning of + Whitsunday—Anagrammatic Pun by William Oldys—Ballad of + Chevy Chase: Ovid—Horace Walpole at Eton <a title="Go to page 205" href="#again205">205</a></p> + +</div> + +<p class="larger">Q<span class="smcap lowercase">UERIES</span>:—</p> + +<div class="toc"> + +<p class="indh i5">Continental Watchmen and their Songs <a title="Go to page 206" href="#great206"> 206</a></p> + +<p class="indh i5">Minor Queries:—Quotation from Bacon—Carmagnoles—The + Use of Tobacco by the Elizabethan Ladies—Covines—Story + referred to by Jeremy Taylor—Plant + in Texas—Discount—Sacre Cheveux—"Mad as a + March Hare"—Payments for Destruction of Vermin—Fire + unknown—Matthew Paris's Historia Minor—Mother + Bunche's Fairy Tales—Monumental Symbolism—Meaning + of "Stickle" and "Dray"—Son + of the Morning—Gild Book <a title="Go to page 208" href="#yes208">208</a></p> + +</div> + +<p class="larger"> R<span class="smcap lowercase">EPLIES</span>:—</p> + +<div class="toc"> + +<p class="indh i5">Pope and Flatman <a title="Go to page 209" href="#of209">209</a></p> + +<p class="indh i5">Test of the Strength of a Bow <a title="Go to page 210" href="#find210">210</a></p> + +<p class="indh i5">Baskerville the Printer <a title="Go to page 211" href="#elder211">211</a></p> + +<p class="indh i5">Replies to Minor Queries:—Mazer Wood and Sin-eaters—"A + Posie of other Men's Flowers"—Table + Book—Briwingable—Simnels—A Ship's Berth—Suicides + buried in Cross-roads—A Sword-blade Note—Domesday + Book of Scotland—Dole-bank—The + Letter "V"—Cardinal Wolsey—Nervous—Coleridge's + Essays on Beauty—"Nao" or "Naw," a Ship—Unde + derivatur Stonehenge—Nick Nack—Meaning + of Carfax—Hand giving the Benediction—Unlucky + for Pregnant Women to take an Oath—Borough-English—Date + of a Charter <a title="Go to page 211" href="#elder211">211</a></p> + +</div> + +<p class="larger">M<span class="smcap lowercase">ISCELLANEOUS</span>:—</p> + +<div class="toc"> + + <p>Notes on Books, Sales, Catalogues, &c. <a title="Go to page 215" href="#customary215">215</a></p> + + <p> Books and Odd Volumes wanted <a title="Go to page 215" href="#customary215">215</a></p> + + <p>Notices to Correspondents <a title="Go to page 215" href="#customary215">215</a></p> + + <p>Advertisements <a title="Go to page 216" href="#addressed216"> 216</a> +<span class="pagenum">[201]</span><a id="notes201"></a></p> + +<p class="indh i5"> <a id="was_added1"></a><a title="Go to list of vol. numbers and pages" href="#pageslist1" class="fnanchor">List + of Notes and Queries volumes and pages</a></p> + +</div> + + +<h2><span class="bla">Notes.</span></h2> + + +<h3><span>VENERABLE BEDE'S MENTAL ALMANAC.</span></h3> + +<p>If our own ancient British sage, the Venerable Bede, could rise up from +the dust of eleven centuries, he might find us, notwithstanding all our +astounding improvements, in a worse position, in one respect at least, +than when he left us; and as the subject would be one in which he was +well versed, it would indubitably attract his attention.</p> + +<p>He might then set about teaching us from his own writings a mental +resource, far superior to any similar device practised by ourselves, by +which the day of the week belonging to any day of the month, in any year +of the Christian era, might easily and speedily be found.</p> + +<p>And when the few, who would give themselves the trouble of thoroughly +understanding it, came to perceive its easiness of acquirement, its +simplicity in practice, and its firm hold upon the memory, they might +well marvel how so admirable a facility should have been so entirely +forgotten, or by what perversion of judgment it could have been +superseded by the comparatively clumsy and impracticable method of the +Dominical letters.</p> + +<p>Let us hear his description of it in his own words:</p> + + +<p>"Q<span class="smcap lowercase">UÆ SIT FERIA IN</span> C<span class="smcap lowercase">ALENDIS</span>.</p> + + + <p class="blockquot">"Simile autem huic tradunt argumentum ad inveniendam diem + Calendarum promptissimum.</p> + +<p class="blockquot">"Habet ergo regulares Januarius <span class="smcap lowercase">II</span>, Februarius <span class="smcap lowercase">V</span>, Martius <span class="smcap lowercase">V</span>, + Apriles <span class="smcap lowercase">I</span>, Maius <span class="smcap lowercase">III</span>, Junius <span class="smcap lowercase">VI</span>, Julius <span class="smcap lowercase">I</span>, Augustus <span class="smcap lowercase">IIII</span>, + September <span class="smcap lowercase">VII</span>, October <span class="smcap lowercase">II</span>, November <span class="smcap lowercase">V</span>, December <span class="smcap lowercase">VII</span>. Qui + videlicet regulares hoc specialiter indicant, quota sit feria per + Calendas, eo anno quo septem concurrentes adscripti sunt dies: + cæteris vero annis addes concurrentes quotquot in præsenti + fuerunt adnotati ad regulares mensium singulorum, et ita diem + calendarum sine errore semper invenies. Hoc tantum memor esto, ut + cum imminente anno bisextili unus concurrentium intermittendus + est dies, eo tamen numero quem intermissurus es in Januario + Februarioque utaris: ac in calendis primum Martiis per illum qui + circulo centinetur solis computare incipias. Cum ergo diem + calendarum, verbi gratia, Januarium, quærere vis; dicis Januarius + II, adde concurrentes septimanæ dies qui fuerunt anno quo + computas, utpote III, fiunt quinque; quinta feria intrant calendæ + Januariæ. Item anno qui sex habet concurrentes, sume v regulares + mensis Martii, adde concurrentes sex, fiunt undecim, tolle + septem, remanent quatuor, quarta feria sunt Calendæ + Martiæ."—Bedæ Venerabilis, <i>De Temporum Ratione</i>, caput xxi.</p> + +<p>The meaning of this may be expressed as follows:—Attached to the twelve +months of the year are certain fixed numbers called regulars, ranging +from <span class="smcap lowercase">I</span> to <span class="smcap lowercase">VII</span>, denoting the days of the week in their usual order. These +regulars, in any year whereof the concurrent, or solar epact, is 0 or 7, +express, of themselves, the commencing day of each month: but in other +years, whatever the solar epact of the year may be, that epact must +be<a id="be202"></a> + <span class="pagenum">[202]</span> added + to the regular of any month to indicate, in a similar +manner, the commencing day of that month.</p> + +<p>It follows, therefore, that the only burthen the memory need be charged +with is the distribution of the regulars among the several months; +because the other element, the solar epact (which also ranges from 1 to +7), may either be obtained from a short mental calculation, or, should +the system come into general use, it would soon become a matter of +public notoriety during the continuance of each current year.</p> + +<p>Now, these solar epacts have several practical advantages over the +Dominical letters. 1. They are numerical in themselves, and therefore +they are found at once, and used directly, without the complication of +converting figures into letters and letters into figures. 2. They +increase progressively in every year; whereas the Dominical letters have +a crab-like retrogressive progress, which impedes facility of practice. +3. The <i>rationale</i> of the solar epacts is more easily explained and more +readily understood: they are the accumulated odd days short of a +complete week; consequently the accumulation must increase by 1 in every +year, except in leap years, when it increases by 2; because in leap +years there are 2 odd days over 52 complete weeks. But this irregularity +in the epact of leap year does not come into operation until the +additional day has actually been added to the year; that is, not until +after the 29th of February. Or, as Bede describes it, "<i>in leap years +one of the concurrent days is intermitted, but the number so intermitted +must be used for January and February; after which, the epact obtained +from cyclical tables</i> (or from calculation) <i>must be used for the +remaining months</i>." By which he means, that the epacts increase in +arithmetical succession, except in leap years, when the series is +interrupted by one number being passed over; the number so passed over +being used for January and February only. Thus, 2 being the epact of +1851, 3 would be its natural successor for 1852; but, in consequence of +this latter being leap year, 3 is intermitted (except for January and +February), and 4 becomes the real epact, as obtained from calculation.</p> + +<p>To calculate the solar epact for any year, Bede in another place gives +the following rule:</p> + +<p class="blockquot"> "Si vis scire concurrentes septimanæ dies, sume annos Domini et + eorum quartum partem adjice: his quoque quatuor adde, (quia) + quinque concurrentes fuerunt anno Nativitatis Domini: hos partire + per septem et remanent Epactæ Solis."</p> + +<p>That is: take the given year, add to it its fourth part, and also the +constant number 4 (which was the epact preceding the first year of the +Christian era), divide the sum by 7, and what remains is the solar +epact. (If there be no remainder, the epact may be called either 0 or +7.)</p> + +<p>This is an excellent rule; the same, I believe, that is to this day +prescribed for arriving at the Dominical letter of the Old Style. Let it +be applied, for example, to find upon what day of the week the battle of +Agincourt was fought (Oct. 25, 1415). Here we have 1415, and its fourth +353, and the constant 4, which together make 1772, divided by 7 leaves 1 +as the solar epact; and this, added to 2, the <i>regular</i> for the month of +October, informs us that 3, or Tuesday, was the first day of that month; +consequently it was the 22nd, and Friday, the 25th, was Saint Crispin's +day.</p> + +<p>But this rule of Bede's, in consequence of the addition, since his time, +of a thousand years to the number to be operated upon, is no longer so +convenient as a <i>mental</i> resource.</p> + +<p>It may be greatly simplified by separating the centuries from the odd +years, by which the operation is reduced to two places of figures +instead of four. Such a method, moreover, has the very great advantage +of assimilating the operation of finding the solar epact, in both +styles, the Old and the New; the only remaining difference between them +being in the rules for finding the <i>constant number</i> to be added in each +century. These rules are as follow:—</p> + +<p><i>For the Old Style.</i>—In any date, divide the number of centuries by 7, +and deduct the remainder from 4 (or 11); the result is the constant for +that century.</p> + +<p><i>For the New Style.</i>—In any date, divide the number of centuries by 4, +double the remainder, and deduct it from 6: the result is the constant +for that century.</p> + +<p><i>For the Solar Epact, in either Style.</i>—To the odd years of any date +(rejecting the centuries) add their fourth part, and also the constant +number found by the preceding rules; divide the sum by 7, and what +remains is the solar epact.</p> + +<p>As an example of these rules in <i>Old Style</i>, let the former example be +repeated, viz. <span class="smcap lowercase">A.D.</span> 1415:</p> + +<p>First, since the centuries (14), divided by 7, leave no remainder, 4 is +the constant number. Therefore 15, and 3 (the fourth), and 4 (the +constant), amount to 22, from which eliminating the sevens, remains 1 as +the solar epact.</p> + +<p>For an example in <i>New Style</i>, let the present year be taken. In the +first place, 18 divided by 4 leaves 2, which doubled is 4, deducted from +6 results 2, the constant number for the present century. Therefore 51, +and 12 (the fourth), and 2 (the constant), together make 65, from which +the sevens being eliminated, remains 2, the solar epact for this year.</p> + +<p>But in appreciating the practical facility of this method, we must bear +in mind that <i>the constant</i>, when once ascertained for any century, +remains unchanged throughout the whole of that century; and that <i>the +solar epact</i>, when once ascertained for any year, can scarcely require +recalculation during the remainder of that year: furthermore, that<a id="that203"></a> + <span class="pagenum">[203]</span> +although the rule for calculating the epact, as just recited, is so +extremely simple, yet even that slight mental exertion may be spared to +the mass of those who might benefit by its application to current +purposes; because it might become an object of general notoriety in each +current year. And I am not without hope that "N<span class="smcap lowercase">OTES AND</span> Q<span class="smcap lowercase">UERIES</span>" will +next year set the example to other publications, by making the current +solar epact for 1852 a portion of its "heading," and by suffering it to +remain, incorporated with the date of each impression, throughout the +year.</p> + +<p>Let us now recur to the allotment of <i>the regulars</i> at the beginning of +Bede's description. Placed in succession their order is as follows:—</p> + +<table summary="Bede regulars"> + +<tr> +<td></td> +<td class="tdleft"> April and July</td> +<td class="tdright"><span class="smcap lowercase">I</span>,</td> +<td class="tdleft"> or Sunday</td> +</tr> + +<tr> +<td></td> +<td class="tdleft"> January and October </td> +<td class="tdright"> <span class="smcap lowercase">II</span>,</td> +<td class="tdleft"> or Monday</td> +</tr> + +<tr> +<td></td> +<td class="tdleft"> May </td> +<td class="tdright"><span class="smcap lowercase">III</span>,</td> +<td class="tdleft"> or Tuesday</td> +</tr> + +<tr> +<td></td> +<td class="tdleft"> August </td> +<td class="tdright"><span class="smcap lowercase">IIII</span>,</td> +<td class="tdleft"> or Wednesday</td> +</tr> + +<tr> +<td></td> +<td class="tdleft"> March, Feb., and November</td> +<td class="tdright"><span class="smcap lowercase">V</span>,</td> +<td class="tdleft"> or Thursday</td> +</tr> + +<tr> +<td></td> +<td class="tdleft">June</td> +<td class="tdright"><span class="smcap lowercase">VI</span>,</td> +<td class="tdleft"> or Friday</td> +</tr> + +<tr> +<td></td> +<td class="tdleft">September and December</td> +<td class="tdright"><span class="smcap lowercase">VII</span>,</td> +<td class="tdleft"> or Saturday</td> +</tr> + +</table> + +<p>There is no great difficulty in retaining this in the memory; but should +uncertainty arise at any time, it may be immediately corrected by a +mental reference to the following lines, the alliterative jingle of +which is designed to house them as securely in the brain as the immortal +and never-failing, "Thirty days hath September." The order of the +allotment is preserved by appropriating as nearly as possible a line to +each day of the week; while the absolute connexion here and there of +certain days, by name, with certain months, forms a sort of interweaving +that renders mistake or misplacement almost impossible.</p> + +<div class="poem"> + + <p> "April loveth to link with July,</p> + <p> And the merry new year with October comes by,</p> + <p> August for Wednesday, Tuesday for May,</p> + <p>March and November and Valentine's Day,</p> + <p> Friday is June day, and lastly we seek</p> + <p>September and Christmas to finish the week."</p> + +</div> + +<p>Now, since we have ascertained, from the short calculation before +recited, that the solar epact of this present year of 1851 is 2, and +since the regular of October is also 2, we have but to add them together +to obtain 4 (or Wednesday) as the commencing day of this next coming +month of October. And, if we wish to know the day of the month belonging +to any other day of the week in October, we have but to subtract the +commencing day, which is 4, from 8, and to the result add the required +day. Let the latter, for example, be Sunday; then 4 from 8 leaves 4, +which added to 1 (or Sunday), shows that Sunday, in the month of October +1851, is either 5th, 12th, 19th, or 26th.</p> + +<p>This additional application is here introduced merely to illustrate the +great facilities afforded by the purely numerical form of Bede's +"<i>argumentum</i>,"—such as must gradually present themselves to any person +who will take the trouble to become thoroughly and practically familiar +with it.</p> + + <p class="right"> A. E. B.</p> + + <p class="left"> Leeds, September, 1851.</p> + + + +<h3><span>HYPHENISM, HYPHENIC, HYPHENIZATION.</span></h3> + +<p>Where our ancestors wanted words, they made them, or imported them +ready made. But we are become so particular about the etymological +force of newly coined words, that we can never please ourselves, but +rather choose to do without than to tolerate anything exceptionable. We +have to learn again that a word cannot be like Burleigh's nod, but must +be content to indicate the whole by the expression of some prominent +part, or of some convenient part, prominent or not.</p> + +<p>Among the uses to which the "N<span class="smcap lowercase">OTES AND</span> Q<span class="smcap lowercase">UERIES</span>" might be put, is the +suggestion of words. It very often happens that one who is apt at +finding the want is not equally good for the remedy, and <i>vice versâ</i>. +By the aid of this journal the blade might find a handle, or the handle +a blade, as wanted, with the advantage of criticism at the formation; +while an author who coins a word, must commit himself before he can have +much advice.</p> + +<p>The above remarks were immediately suggested by my happening to think of +a word for a thing which gives much trouble, and requires more attention +than it has received, but not more than it may receive if it can be +fitly designated by a single word. A <i>clause</i> of a sentence, both by +etymology and usage, means any part of it of which the component words +cannot be separated, but must all go together, or all remain together: +it is then a component of the sentence which has a finished meaning in +itself. The proper mode of indicating the clauses takes its name from +the means, and not from the end: we say <i>punctuation</i>, not +<i>clausification</i>. This may have been a misfortune, for it is possible +that punctuation might have been better studied, if its name had +imported its object. But there is another and a greater misfortune, +arising from the total want of a name. In a sentence, not only do +collections of words form minor sentences, but they also form compound +words: sometimes eight or ten words are really only one. When two words +are thus compounded, we use a hyphen: but those who have attempted to +use more than one hyphen have been laughed out of the field; though +perspicuity, logic, and algebra were all on their side. The <i>Morning +Post</i> adopted this practice in former days; and Horace Smith (or James, +as the case may be,) ridiculed them in a parody which speaks of "the +not-a-bit-the-less-on-that-account-to-be-universally-detested monster +Buonaparte." It is, I think, much to be regretted that the use of the +hyphen is so restricted: for<a id="for204"></a> + <span class="pagenum">[204]</span> + though, like the comma, it might be +abused, yet the abuse would rather tend to clearness.</p> + +<p>But, without introducing a further use of the hyphen, it would be +desirable to have a distinct name for a combination of words; which, +without being such a recognised and permanent compound as <i>apple-tree</i> +or <i>man in the moon</i>, is nevertheless one word in the particular +sentence in hand. And the name is easily found. The word hyphen being +Greek (<span title="[Greek: hyph' hen]">ὑφ' ἕν</span>), and + being made a substantive, we might join +Greek suffixes to it, and speak of <i>hyphenisms</i> and <i>hyphenic</i> phrases. +For example, the following I should call a hyphenic error. When the +British Museum recently published <i>A Short Guide to that Portion of the +Library of printed Books now open to the Public</i>, a review pronounced +the title a misnomer; because the <i>books</i> are not open to the public, +but are in locked glass cases. The reviewer read it "library of +printed-books-now-open-to-the-public," instead of +"library-of-printed-books now open to the public." And though in this +case the reviewer was very palpably wrong, yet there are many cases in +which a real ambiguity exists.</p> + +<p>A neglect of mental hyphenization often leads to mistake as to an +author's meaning, particularly in this age of morbid implication. For +instance, a person writes something about "a Sunday or other +day-for-which-there-is-a-special-service;" and is taken as meaning "a +Sunday-or-other-day for which," &c. The odds are that some readers will +suppose him, by speaking of Sundays <i>with</i> special service, to imply that +some are <i>without</i>.</p> + + + <p class="right"> M.</p> + + + +<h3><span>GRAY AND COWLEY.</span></h3> + +<p>Some spirited publisher would confer a serious obligation on the +classical world by bringing out an edition of Gray's <i>Poems</i>, with the +parallel passages annexed. "Taking him for all in all," he is one of our +most perfect poets: and though Collins might have rivalled him (under +circumstances equally auspicious), he could have been surpassed by +Milton alone. In 1786, Gilbert Wakefield attempted to do for Gray what +Newton and Warton had done for Milton (and, for one, I thank him for +it); but his illustrations, though almost all good and to the point, are +generally from books which every ordinary reader knows off by heart. +Besides, Wakefield is so very egotistical, and at times so very puerile, +that he is too much for most people. However, his volume, <i>The Poems of +Mr. Gray, with Notes</i>, by Gilbert Wakefield, B.A., late Fellow of Jesus +College, Cambridge: London, 1786, would furnish a good substratum for +the volume I am now recommending.</p> + +<p>Not to speak of Milton's English poems and the great masterpieces of +ancient times, with which so learned a scholar as Gray was, of course, +familiar, he draws largely from the Greek anthology, from Nonnus, from +Milton's Latin poems, from Cowley, and I had almost said from the prose +works of Bishop Jeremy Taylor. His admiration of the great "Shakspeare +of Divinity" is proved from a portion of one of his letters to Mason; +and some other day I may furnish an illustration or two. Indeed, were +any publisher to undertake the generous office I mention, I dare say +that many a secret treasure would be unlocked, and many an "orient pearl +at random strung" be forthcoming for his use. Let me first mention +Gray's opinion of Cowley, and then add in confirmation one or two +passages out of many. He says in a note to his "Ode on the Progress of +Poesy:"</p> + +<p class="blockquot"> "We have had in our language not other odes of the sublime kind + than that of Dryden 'On St. Cecilia's Day:' for <i>Cowley (who had + his merit) yet wanted judgment, style, and harmony for such a + task</i>. That of Pope is not worthy of so great a man."</p> + +<p>We must submit to Gray's oracular sentence, for he himself was +pre-eminently gifted in the three great qualities in which he declares +the deficiency of Cowley (at least if we are to judge from his English +poems; for the prosody of his Latin efforts seems sadly deficient). At +times Cowley's "harmony" is not first-rate, and his "style" is deeply +impregnated with the fantastic conceits of the day; but he is still a +poet, and a great one too. And I think that in some of his writings Gray +had Cowley evidently in mind; <i>e.g.</i> in the <i>epitaph</i> to his "Elegy in a +Country Churchyard:"</p> + +<div class="poem"> + + <p>"Large was his bounty, and his soul sincere,</p> + <p class="i3"> Heaven did a recompence as largely send:</p> + <p>He gave to mis'ry (all he had) a tear;</p> + <p class="i3"> He gained from Heav'n ('twas all he wish'd) a friend."</p> + +</div> + +<p>Cowley had previously written:</p> + + +<div class="poem"> + + <p> "Large was his soul; as large a soul as e'er</p> + <p>Submitted to <i>inform</i> a <i>body</i> here.</p> + <p> High as the place 'twas shortly in <i>Heav'n</i> to have,</p> + <p class="i3">But low, and humble as his <i>grave</i>.</p> + <p> So <i>high</i> that all the <i>virtues</i> there did come,</p> + <p class="i3"> As to their chiefest seat,</p> + <p class="i3"> Conspicuous, and great;</p> + <p>So <i>low</i> that for <i>me</i> too it made a room."</p> + + <p class="author"><i>On the Death of Mr. William Hervey.</i> </p> +<p class="author"> <i>Miscellanies</i>, page 18. London, 1669.</p> + +</div> + +<p>Again—</p> + +<div class="poem"> + + <p> "The attick warbler pours her <i>throat</i></p> + <p> Responsive to the cuckoo's note,</p> + <p class="i3"> The <i>untaught</i> harmony of spring."</p> + + <p class="author"> Gray, Ode I. <i>On the Spring.</i></p> + +</div> + + + <div class="poem"> + + <p>"Hadst thou all the charming notes</p> + <p> Of the wood's poetic <i>throats</i>."</p> + + <p class="author"> Cowley, <i>Ode to the Swallow</i>.</p> + +</div> + +<div class="poem"> + + <p> "Teaching their Maker in their <i>untaught</i> lays."</p> + + <p class="author">Cowley, <i>Davideis</i> lib. i. sect 63. p. 20.</p> + +</div> + +<p> <span class="pagenum">[205]</span> <a id="again205"></a>Again:</p> + +<div class="poem"> + <p> "Where'er the oak's thick branches stretch</p> + <p class="i3"> A broader browner shade,</p> + <p> Where'er the rude and moss-grown beech</p> + <p class="i3"> O'ercanopies the glade,</p> + <p> Beside some water's rushy brink,</p> + <p>With me the Muse shall sit, and think," &c.</p> + + <p class="author"> Gray, Ode I. <i>On the Spring.</i></p> + +</div> + +<div class="poem"> + + <p> "O magnum Isacidum decus! O pulcherrima castra!</p> + <p>O arma ingentes olim paritura triumphos!</p> + <p> Non sic herbarum vario subridet Amictu,</p> + <p>Planities pictæ vallis, montisque supini</p> + <p>Clivus, perpetuis Cedrorum versibus altus.</p> + <p> Non sic æstivo quondam nitet hortus in anno,</p> + <p> Frondusque, fructusque ferens, formosa secundum</p> + <p> Flumina, mollis ubi viridisque supernatat umbra."</p> + + <p class="author">Cowley, <i>Davideidos</i> lib. i. ad finem.</p> + +</div> + +<p>I do not mean that Gray may not have had other poets in his mind when +writing these lines (for there is nothing new or uncommon about them); +but rather a careful going over of Cowley's poems convinces me that Gray +was sensible of his "merits," and often corrects his want of "judgment" +by his own refined and most exquisite taste. I must give one more +instance; and I think that Bishop Hall's allusion to his life at +Emmanuel College, and Bishop Ridley's "Farewell to Pembroke Hall," must +every one fall into the background before Cowley. Gray's poem ought to +be too well known to require quoting:</p> + + +<div class="poem"> + <div class="stanza"> + +<p> "Ye distant spires, ye antique towers,</p> + <p class="i3"> That crown the wat'ry glade,</p> + <p> Where grateful Science still adores</p> + <p class="i3"> Her Henry's holy shade;</p> + <p> And ye that from the stately brow</p> + <p> Of Windsor's heights th' expanse below</p> + <p class="i3"> Of grove, of lawn, of mead survey,</p> + <p> Whose turf, whose shade, whose flowers among</p> + <p> Wanders the hoary Thames along</p> + <p class="i3"> His silver winding way.</p> +</div> + + <div class="stanza"> + + <p> "Ah, happy hills! ah, pleasing shade!</p> + <p class="i3">Ah, fields beloved in vain!</p> + <p> Where once my careless childhood stray'd,</p> + <p class="i3"> A stranger yet to pain.</p> + <p> I feel the gales that from ye blow,</p> + <p>A momentary bliss bestow,</p> + <p class="i3">As waving fresh their gladsome wing,</p> + <p> My weary soul they seem to soothe,</p> + <p>And, redolent of joy and youth,</p> + <p class="i3"> To breathe a second spring."</p> + + <p class="author"> Ode III. <i>On a distant Prospect of Eton College.</i></p> + +</div> +</div> + +<p>Cowley was educated at Trinity College, Cambridge; and if I rightly +remember Bonney's <i>Life of Bishop Middleton</i>, his affecting allusions to +Cambridge had the highest praise of that accomplished scholar and +divine:</p> + +<div class="poem"> + + <p> "O mihi jucundum Grantæ super omnia nomen!</p> + <p class="i3"> O penitus toto corde receptus amor!</p> + <p> O pulchræ sine luxu ædes, vitæque beatæ,</p> + <p class="i3"> Splendida paupertas, ingenuusque decor!</p> + <p>O chara ante alias, magnorum nomine Regum</p> + <p class="i3">Digna domus! Trini nomine digna Dei</p> + <p> O nimium Cereris cumulati munere campi,</p> + <p class="i3">Posthabitis Ennæ quos colit illa jugis!</p> + <p> O sacri fontes! et sacræ vatibus umbræ</p> + <p class="i3">Quas recreant avium Pieridumque chori!</p> + <p>O Camus! Phœbo multus quo gratior amnis</p> + <p class="i3">Amnibus auriferis invidiosus inops!</p> + <p> Ah mihi si vestræ reddat bona gaudia sedis,</p> + <p class="i3">Detque Deus doctâ posse quiete frui!</p> + <p>Qualis eram cum me tranquilla mente sedentem</p> + <p class="i3">Vidisti in ripâ, Came serene, tuâ;</p> + <p>Mulcentem audisti puerili flumina cantu;</p> + <p class="i3">Ille quidem immerito, sed tibi gratus erat.</p> + <p> Nam, memini ripa cum tu dignatus utrâque</p> + <p class="i3"> Dignatum est totum verba referre nemus.</p> + <p> Tunc liquidis tacitisque simul mea vita diebus,</p> + <p class="i3"> Et similis vestræ candida fluxit aquæ.</p> + <p> At nunc cœnosæ luces, atque obice multo</p> + <p class="i3"> Rumpitur ætatis turbidus ordo meæ.</p> + <p> Quid mihi Sequanâ opus, Tamesisve aut Thybridis undâ?</p> + <p class="i3"> Tu potis es nostram tollere, Came, sitim."</p> + + <p class="author"> <i>Elegia dedicatoria, ad illustrissimam Academiam<br /> + Cantabrigiensem</i>, prefixed to Cowley's Works,<br /> + Lond. 1669, folio.</p> + +</div> + + <p class="right"> R<span class="smcap lowercase">T</span>.</p> + +<p class="left"> Warmington, Sept. 8. 1851.</p> + + + +<h3><span class="bla">Minor Notes.</span></h3> + + +<h4><span title="[Greek: H y p ô p i a z ô.]"><strong>Ὑπωπιάζω.</strong></span></h4> + +<p>—I "keep under my body," &c. 1 Cor. ix. 27. One can +scarcely allude to this passage without remembering the sarcastic +observations of Dr. South upon a too literal interpretation of it. +(<i>Sermons</i>, vol. i. p. 12. Dublin, 1720.) And yet deeper and more +spiritual writers by no means pass the literal interpretation by with +indifference. Bishop Andrewes distinctly mentions + <span title="[Greek: hypôpiasmos]">ὑπωπιασμός</span>, +or <i>suggillatio</i>, amongst the "circumstantiæ orationis;" as also +<span title="[Greek: ekdikêsis]">ἐκδίκησις</span>, <i>vindicta</i>, +or <i>revenge</i>, 2 Cor. vii. II. (<i>Preces Privatæ</i>, +pag. 14. Londini, 1828.) Bishop J. Taylor is equally explicit in a +well-known and remarkable passage:</p> + +<p class="blockquot"> "If the lust be upon us, and sharply tempting, by inflicting any + smart to overthrow the strongest passion by the most violent + pain, we shall find great ease for the present, and the + resolution and apt sufferance against the future danger; and this + was St. Paul's remedy: 'I bring my body under;' he used some + rudeness towards it."—<i>Holy Living</i>, sect. iii. <i>Of Chastity. + Remedies against Uncleanness</i>, 4.</p> + +<p>The word <span title="[Greek: hypôpia]">ὑπώπια</span> +occurs only once in the LXX, but that seems in +a peculiarly apposite way: "<span title="[Greek: h y p ô p i a + k a i s y n t r i m m a t a s y n a n t a k a k o i s, +plêgai de eis tamieia koilias.]"><strong>ὑπώπια καὶ +συντρίμματα + συναντᾷ κακοῖς</strong>, +πληγαὶ + δὲ εἰς + ταμιεῖα + κοιλίας.</span>" + As our English version +translates it: "The blueness of a wound cleanseth away evil (or, is a +purging medicine against evil, margin), so do stripes the inward parts +of the belly." (Proverbs xx. 30.) If it were not absolute presumption to +differ from the great<a id="great206"></a> +<span class="pagenum">[206]</span> +Dr. Jackson, one would feel inclined to +question, or at least to require further proof of some observations of +his. He says, in treating of our present passage:</p> + +<p class="blockquot"> "The very literal importance of those three words in the + original—<span title="[Greek: hypopiazô]">ὑποπιάζω</span>, +<span title="[Greek: kêryxas]">κηρῦξας</span>, and +<span title="[Greek: adokimos]">ἀδόκιμος</span>—cannot + be so well learned from any Dictionary or + Lexicon, as from such as write of the Olympic Games, or of that + kind of tryal of masteries, which in his time or before was in + use. The word <span title="[Greek: hypopiazô]">ὑποπιάζω</span> + is proper (I take it) unto + wrestlers, whose practice it was to keep under other men's + bodies, not their own, or to keep their antagonists from all + advantage of hold, either gotten or aimed at. But our apostle did + imitate their practice upon his own body, not on any others; for + his own body was his chief antagonist."—<i>Works</i>, vol. ii. p. + 644. Lond. 1673. +</p> + +<p>Suidas makes some remarks upon the word, but they are not very much to +our purpose.</p> + + +<p class="right"> R<span class="smcap lowercase">T</span>.</p> + +<p class="left"> Warmington.</p> + + + + +<h4><span><i>Meaning of Whitsunday.</i></span></h4> + +<p>—I long ago suggested in your pages that +Whitsun Day, or, as it was anciently written, Witson Day, meant Wisdom +Day, or the day of the outpouring of Divine wisdom; and I requested the +attention of your learned correspondents to this subject. I cannot +refrain from thanking C. H. for his fourth quotation from Richard Rolle +(Vol. iv., p. 50.) in confirmation of this view.</p> + +<div class="poem"> + + <p>"This day <i>witsonday</i> is cald,</p> + <p> For <i>wisdom & wit</i> seuene fald</p> + <p> Was youen to þ<span class="topnum">e</span> apostles as þis day</p> + <p> For <i>wise</i> in alle þingis wer thay,</p> + <p>To spek w<span class="topnum">t</span> outen mannes lore</p> + <p> Al maner langage eueri whore."</p> + +</div> + +<p class="right"> H. T. G.</p> + + + +<h4><span><i>Anagrammatic Pun by William Oldys.</i></span></h4> + +<p>—Your correspondent's Query +concerning Oldys's <i>Account of London Libraries</i> (Vol. iv., p. 176.), +reminded me of the following punning anagram on the name of that +celebrated bibliographer, which may claim a place among the first +productions of its class. It was Oldys himself, and is attached to one +of his own transcripts in the British Museum:</p> + +<div class="poem"> + + <p> "In word and <i>Will I am</i> a friend to you,</p> + <p> And one friend <i>Old is</i> worth a hundred new."</p> + +</div> + + +<p class="right"> B<span class="smcap lowercase">LOWEN</span>.</p> + + + +<h4><span><i>Ballad of Chevy Chase: Ovid.</i></span></h4> + +<p>—Addison, in his critique on the ballad +of "Chevy Chase," after quoting the stanza—</p> + +<div class="poem"> + + <p> "Against Sir Hugh Montgomery,</p> + <p class="i3"> So right his shaft he set,</p> + <p> The grey goose wing that was thereon</p> + <p class="i3"> In his heart's blood was wet,"</p> + +</div> + +<p class="noindent">says that "the thought" in that stanza "was never touched by any other +poet, and is such a one as would have shined in Homer or Virgil." It is +perhaps true that there is no passage in any other writer exactly +resembling this, but it is not quite true that the thought has not been +<i>touched</i>; for there is something approaching to it in Ovid's +<i>Metamorphoses</i>, where the slaughter of Niobe's children by the arrows +of Apollo is described:</p> + +<div class="poem"> + + <p> "Altera per jugulum <i>pennis tenus</i> acta sagitta est:</p> + <p> <i>Expulit hanc sanguis</i>; seque ejaculatus in altum</p> + <p> Emicat."—<span class="smcap lowercase">VI.</span> 260.</p> + +</div> + +<p>The author of this ballad would appear, from the passages cited by +Addison, to have been well read in the Latin poets. Had Addison +recollected the above passage of Ovid, he would doubtless have adduced +it.</p> + +<p class="right"> J. S. W.</p> + +<p class="left"> Stockwell.</p> + + + + +<h4><span><i>Horace Walpole at Eton.</i></span></h4> + +<p>—The following anecdote of Horace Walpole +while at Eton was related by the learned Jacob Bryant, one of his +school-fellows, and has not, I believe, been printed; it is at all +events very much at your service.</p> + +<p>In those days the Etonians were in the habit of acting plays, and +amongst others <i>Tamerlane</i> was selected for representation. The cast of +parts has unluckily not been preserved, but it is sufficient for us to +know that the lower boys were put into requisition to personate the +mutes. After the performance the wine, which had been provided for the +actors, had disappeared, and a strong suspicion arose that the lower +boys behind the scenes had made free with it, and Horace Walpole +exclaimed, "The mutes have swallowed the liquids!"</p> + +<p class="right"> B<span class="smcap lowercase">RAYBROOKE</span>.</p> + + + + + +<h2><span class="bla">Queries.</span></h2> + + +<h3><span>CONTINENTAL WATCHMEN AND THEIR SONGS.</span></h3> + +<p>The inquiries I made in Vol. iii., p. 324., respecting the Bellman and +his Songs, have been answered by most interesting information (pp. 377. +451. 485.); and the references made by the Editor to V. Bourne's +translation was most acceptable. The interest of this subject is +increased by finding that the Custos Nocturnus exists at the present day +in other countries, resembling very much in duties, costume, and chants +the Westminster Bellman. I venture to send you extracts from W. Hurton's +<i>Voyage from Leith to Lapland</i>, and Dr. Forbes's <i>Physician's Holiday</i>.</p> + + <p class="blockquot">"During the past year of 1849 it has been my lot to reside at + four of the most remarkable capitals of Europe, and successively + to experience what spring is in London, what summer is in Paris, + what autumn is in Edinburgh, and what winter is in Copenhagen. + Vividly, indeed, can I dwell on the marvellous contrast of the + night aspect of each: but one of the most interesting + peculiarities I have noticed in any of them, is that presented by + the watchmen of the last-named. When I first looked on these + guardians of the night, I involuntarily thought of Shakspeare's + Dogberry and Verges. The sturdy watchers are muffled in + uniform<a id="great207"></a> +<span class="pagenum">[207]</span> + great coats, and also wear fur caps. In their hand + they carry a staff of office, on which they screw, when occasion + requires, that fearful weapon the 'morning star.' They also + sometimes may be seen with a lanthorn at their belt: the candle + contained in the lanthorn they place at the top of their staff, + to relight any street-lamps which require trimming. In case of + fire, the watchmen give signals from the church towers, by + striking a number of strokes, varying with the quarter of the + city in which the fire occurs; and they also put from the tower + flags and lights pointed in the direction where the destructive + element is raging. From eight o'clock in the evening, until four + (Query, until five) o'clock in the morning, all the year round, + they chant a fresh verse at the expiration of each hour, as they + go their rounds. The cadence is generally deep and guttural, but + with a peculiar emphasis and tone; and from a distance it floats + on the still night air with a pleasing and impressive effect, + especially to the ear of a stranger. The verses in question are + of great antiquity, and were written, I am told, by one of the + Danish bishops. They are printed on a large sheet of paper, with + an emblematical border, rudely engraved in the old style; and in + the centre is a large engraving exactly representing one of the + ancient watchmen, in the now obsolete costume, with his staff and + 'morning star' in hand, a lanthorn at his belt, and his dog at + his feet.</p> + +<p class="blockquot">"A copy of the broadside has been procured me, and my friend Mr. + Charles Beckwith has expressly made for me a verbatim translation + of the verses; and his version I will now give at length. I am + induced to do this, because, not only are the chants most + interesting in themselves, as a fine old relic of Scandinavian + customs, but there seems to me a powerful poetical spirit + pervading them. At the top of the sheet are the lines which in + the translation are—</p> + +<div class="poem"> + + <p> 'Watch and pray,</p> + <p> For time goes;</p> + <p> Think and directly,</p> + <p> You know not when.'</p> + +</div> + +<p class="blockquot"> "In large letters over the engraving of the watchman are the + words (translated):</p> + +<div class="poem"> + + <p> 'Praised be God! our Lord, to whom</p> + <p> Be love, praise, and honour.'</p> + +</div> + + + <p class="blockquot"> "I will now give the literal version, printed exactly in the same + arrangement of lines, letters, and punctuation, as the original:</p> + +<div class="poem"> + + <div class="stanza"> + + <p> '<i>Copenhagen Watchman's Song.</i></p> + +</div> + + <div class="stanza"> + + <p class="i7">Eight o'clock,</p> + <p> When darkness blinds the earth</p> + <p class="i5"> And the day declines,</p> +<p class="i3"> That time then us reminds</p> + <p class="i5">Of death's dark grave;</p> + <p class="i3"> Shine on us, Jesus sweet,</p> + <p class="i5"> At every step</p> + <p class="i3"> To the grave-place,</p> +<p class="i3"> And grant a blissful death.'</p> + +</div> +</div> + + <p class="blockquot"> "Every hour between eight and five o'clock inclusive has its own + chant. The last is—</p> + + +<div class="poem"> + + <p class="i7"> 'Five o'clock.</p> + <p> O Jesu! morning star!</p> + <p class="i5">Our King unto thy care</p> + <p class="i3"> We so willingly commend,</p> + <p class="i5"> Be Thou his sun and shield!</p> + <p class="i3">Our clock it has struck five</p> +<p class="i5"> Come mild Sun,</p> + <p class="i5"> From mercy's pale,</p> + <p> Light up our house and home.'"</p> + + <p class="author"><i>Voyage from Leith to Lapland in 1850</i>,<br /> + by W. Hurton, vol. i. p. 104.</p> + +</div> + +<p>Dr. Forbes writes:</p> + + <p class="blockquot">"We had very indifferent rest in our inn, owing to the over-zeal + of the Chur watchmen, whose practice it is to perambulate the + town through the whole night, twelve in number, and who on the + present occasion displayed a most energetic state of vigilance. + They not only called, but sung out, every hour, in the most + sonorous strains, and even chanted a long string of verses on the + striking of some.... I suppose the good people of Chur think + nothing of these chantings, or from habit hear them not; but a + tired traveller would rather run the risk of being robbed in + tranquillity, than be thus sung from his propriety during all the + watches of the night."—<i>A Physician's Holiday</i>, pp. 80, 81.</p> + +<p>Dr. Forbes gives a copy of a "Watch Chant at Chur," with a translation, +pp. 81, 82. At p. 116. he says:</p> + +<p class="blockquot"> "In our hotel at Altorf we were again saluted, during the vigils + of the night, but in a very mitigated degree, with some of the + same patriotic and pious strains which had so disturbed us at + Chur. As chanted here, however, they were far from unwelcome. The + only other place, I think, where we heard these Wächterrufe was + Neufchatel. These calls are very interesting relics of the old + times, and must be considered indicative as well of the simple + habits of the old time, as of the pious feelings of the people of + old."</p> + +<p>He then gives the Evening and Morning Chants in the town of Glarus, and +the chant in use in some places in the canton of Zurich; but in Zurich +itself the chant is no longer heard.</p> + +<p>Dr. Forbes concludes the twelfth chapter with the following observation:</p> + +<p class="blockquot"> "The same antiquity, and also the inveteracy of old customs to + persist, is strikingly shown by the fact that in some parts of + the canton of Tessino, where the common language of the people is + Italian, the night watch-call is still in old German."</p> + +<p>The apparent universality of the Bellman throughout Europe gives rise to +questions that would, I apprehend, extend beyond the object of + "N<span class="smcap lowercase">OTES AND</span> Q<span class="smcap lowercase">UERIES</span>;" such as, Is pure religion benefited by the engrafting of +it upon stocks so familiar as the bellman or watchman? What are the +causes that the old ecclesiastic bellman is no longer heard in some +countries, whilst in others he continues with little or no variation? +Has religion lost or gained by the change?</p> + +<p>Dr. Forbes's notice of the Tessino watchman calls up the public crier in +England, another class of bellmen, asking for a hearing, with his "O +yes!<a id="yes208"></a> +<span class="pagenum">[208]</span> + O yes!" Little does he think that he is speaking French.</p> + +<p class="right"> F. W. J.</p> + + + + +<h3><span class="bla">Minor Queries.</span></h3> + +<h4><span>151. <i>Quotation from Bacon.</i></span></h4> + +<p>—In Lord Campbell's Life of Lord Bacon +(<i>Lives of the Lord Chancellors</i>, vol. ii. p. 314.) he gives an extract +from Lord Bacon's speech in the House of Commons, on his proposed bill +for "Suppressing Abuses in Weights and Measures." In the following +sentence there is a word which seems to require explanation:</p> + +<p class="blockquot"> "The fault of using false weights and measures is grown so + intolerable and common, that if you would build churches you + shall not need for battlements and <i>halls</i>, other than false + weights of lead and brass."</p> + +<p>The use of lead for the battlements of churches seems obvious enough: +but what can <i>halls</i> mean, unless it be a misprint for <i>bells</i>, for +which brass would be required?</p> + + <p class="right">P<span class="smcap lowercase">EREGRINUS</span>.</p> + + + +<h4><span>152. <i>Carmagnoles.</i></span></h4> + +<p>—Can any of your readers tell me the exact meaning +of the <i>Carmagnoles</i> of the French Revolution? Is the "Marseillaise" a +Carmagnole song? If the word be derived from Carmagnuola in Piedmont, +what is the story of its origin?</p> + + <p class="right"> W. B. H.</p> + + + + +<h4><span>153. <i>The Use of Tobacco by the Elizabethan Ladies.</i></span></h4> + +<p>—In <i>An +Introduction to English Antiquities, by James Eccleston, B.A.</i>, 8vo. +1847, p. 306., the author, speaking of the ladies of the reign of +Elizabeth, has the following passage:</p> + +<p class="blockquot">"It is with regret we add, that their teeth were at this time + generally black and rotten, a defect which foreigners attributed + to their inordinate love for sugar, but which may, perhaps, be + quite as reasonably ascribed to their frequent habit of taking + the Nicotian weed to excess."</p> + +<p>Does the author mean to insinuate by the above, that the Elizabethan +ladies indulged in the "filthy weed" by "smoaking" or "chewing?" I have +always understood that the "Nicotian weed" <i>whitened</i> the teeth rather +than <i>blackened</i> them, but should be glad to be enlightened upon the +subject by some of your scientific readers.</p> + + + <p class="right"> E<span class="smcap lowercase">DWARD</span> F. R<span class="smcap lowercase">IMBAULT</span>.</p> + + + + +<h4><span>154. <i>Covines</i></span> <span>(Vol. iii., p. 477.).</span></h4> + +<p>—Remembering to have seen it stated +by one of your correspondents, that witches or sorcerers were formerly +divided into classes or companies of twelve, called <i>covines</i>, I should +feel obliged by a reference to the authorities from which this statement +is derived. They were not alleged at the time.</p> + + <p class="right"> A. N.</p> + + + + +<h4><span>155. <i>Story referred to by Jeremy Taylor.</i></span></h4> + +<p>—Jeremy Taylor (<i>Duct. +Dubit.</i>, book iii. chap. ii. rule 5. quæst. 2.) states:</p> + +<p class="blockquot"> "The Greek that denied the depositum of his friend, and offered + to swear at the altar that he had restored it already, did not + preserve his conscience and his oath by desiring his friend to + hold the staff in which he had secretly conveyed the money. It is + true, he delivered it into his hand, desiring that he would hold + it till he had sworn; but that artifice was a plain cozenage, and + it was prettily discovered. For the injured person, in + indignation at the perjury, smote the staff upon the ground, and + broke it, and espied the money."</p> + +<p>Whence is the above incident derived?</p> + + <p class="right"> A T<span class="smcap lowercase">R</span>.</p> + + + + +<h4><span>156. <i>Plant in Texas.</i></span></h4> + +<p>—I shall be glad to learn the scientific name of +the plant to which the following extract from the <i>Athenæum</i> (1847, p. +210.) refers:—</p> + +<p class="blockquot"> "It is a well-known fact that in the vast prairies of Texas a + little plant is always to be found which, under all circumstances + of climate, changes of weather, rain, frost, or sunshine, + invariably turns its leaves and flowers to the north," &c.</p> + + <p class="right"> <span title="[Hebrew: .Alef .Tav]">.ת.א</span></p> + + + +<h4><span>157. <i>Discount.</i></span></h4> + +<p>—Can any of your readers inform me how discount +originated, and where first made use of?</p> + + + <p class="right"> J<span class="smcap lowercase">AMES</span> C.</p> + + + + +<h4><span>158. <i>Sacre Cheveux.</i></span></h4> + +<p>—The motto of the arms of the family of <i>Halifax</i> +of Chadacre in Suffolk, and of Lombard Street, is—</p> + + + <p class="right"> "S<span class="smcap lowercase">ACRE</span> C<span class="smcap lowercase">HEVEUX</span>."</p> + +<p>It does not seem to bear allusion to the crest, a griffin, nor to any of +the charges in the coat, which I do not at the moment accurately +remember. If you will enlighten me as to the meaning and origin of the +motto, I shall be obliged.</p> + +<p class="right"> S. A.</p> + + + +<h4><span>159. "<i>Mad as a March Hare.</i>"</span></h4> + +<p>—In Mr. Mayhew's very interesting work, +<i>London Labour and the London Poor</i>, Part xxxiii. p. 112., a collector +of hareskins, in giving an account of his calling, says:</p> + + <p class="blockquot">"Hareskins is in—leastways I c'lects them—from September to the + end of March, when hares, they says, goes mad."</p> + +<p>Perhaps the allusion to the well-known saying, "as mad as a March hare," +on this occasion was made without the collector of hareskins being aware +of the existence of such a saying. Is anything known of its origin? I +imagine that Mr. Mayhew's work will bring many such sayings to light.</p> + +<p class="right"> L. L. L.</p> + + + +<h4><span>160. <i>Vermin, Payments for Destruction of, and Ancient Names.</i></span></h4> + +<p>—Can you +afford me any information as to the authority (act of parliament, or +otherwise,) by which churchwardens in old times paid sums of money for +the destruction of vermin in the several parishes in England; and by +what process of reasoning, animals now deemed innocuous were then +thought to merit so rigorous an extirpation?</p> + +<p>In some old volumes of churchwardens' accounts to which I have access, I +find names which it is impossible to associate with any +description<a id="of209"></a> +<span class="pagenum">[209]</span> +of vermin now known. Perhaps some of your +correspondents may be able to identify them: such as <i>glead</i>, +<i>ringteal</i>, <i>greas'head</i>, <i>baggar</i>. My own impression as to the latter +name was, that it was only another way of spelling badger; but as, in +the volume to which I refer, the word <i>bowson</i> occurs, which the +historian Dr. Whitaker pronounces to be identical with that species of +vermin, my surmise can scarcely be correct.</p> + +<p class="right">J. B. (Manchester).</p> + + + +<h4><span>161. <i>Fire unknown.</i></span></h4> + +<p>—Leibnitz (<i>Sur l'Entendement humain</i>, liv. i. § +4.) speaks of certain islanders to whom fire was unknown. Is there any +authentic account of savages destitute of this essential knowledge?</p> + +<p class="right">C. W. G.</p> + + + +<h4><span>162. <i>Matthew Paris's Historia Minor.</i></span></h4> + +<p>—During the last few years I have +made occasional, but unsuccessful, inquiries after the <i>Historia Minor</i> +of Matthew Paris. It is quoted at some length by Archbishop Parker +(<i>Antiquit. Eccles. Brit.</i>, ed. Hanov. 1605, p. 158.). It is also +referred to, apparently upon Parker's authority, by several divines of +the succeeding age; by one or more of whom (as well as by Watt) the MS. +is spoken of as deposited in the Royal Library at St. James's. The words +produced by Parker do not occur in Matthew Paris's <i>Major History</i>; +though the editor of the second edition of the larger work would appear +to have consulted the <i>Hist. Minor</i>, either in the <i>Biblioth. Reg.</i>, or +the Cottonian Library, or else in the Library of Corpus Coll., +Cambridge. Can any one gratify my curiosity by saying whether this MS. +is known to exist, and (if so) where?</p> + +<p class="right"> J. S<span class="smcap lowercase">ANSOM</span>.</p> + + + +<h4><span>163. <i>Mother Bunche's Fairy Tales.</i></span></h4> + +<p>—Who wrote <i>Mother Bunche's Fairy +Tales</i>?</p> + +<p class="right"> D<span class="smcap lowercase">ALSTONIA</span>.</p> + + + +<h4><span>164. <i>Monumental Symbolism.</i></span></h4> + +<p>—In the south aisle of Tylehurst church, +Berks, is a beautiful monument to the memory of Sir Peter Vanlore, +Knight, and his lady, in recumbent positions, at whose feet is the +statue of their eldest son in armour kneeling. In the front of the tomb +are the figures of ten of their children in processional form—first, +two daughters singly; the rest two and two, four of which have skulls in +their right hands, and a book in their left, probably to denote their +being deceased at the time the monument was erected. At the feet of one +of the youngest children is represented a very small figure of a child +lying in a shroud, the date 1627.</p> + +<p>Query, What do the books symbolise?</p> + + +<p class="right"> J<span class="smcap lowercase">ULIA</span> R. B<span class="smcap lowercase">OCKETT</span>.</p> + + <p class="left"> Southcote Lodge.</p> + + + + +<h4><span>165. <i>Meaning of "Stickle" and "Dray."</i></span></h4> + +<p>—In Wm. Browne's <i>Pastoral</i>, +"The Squirrel Hunt," we read of—</p> + +<div class="poem"> + + <p> "Patient anglers, standing all the day</p> + <p> Near to some shallow <i>stickle</i>, or deep bay."</p> + +</div> + +<p>The word <i>stickle</i> appears to me to be used here for a pool. Is it ever +so used now, or has that meaning become obsolete? I do not find it in +Richardson's <i>Dictionary</i>.</p> + +<p>In the Lake District, in the Langdales, is Harrison's Stickle or Stickle +Tarn, which I think confirms my view of the meaning.</p> + +<hr class="small" /> + + +<div class="poem"> + + <p> "Whilst he from tree to tree, from spray to spray,</p> + <p>Gets to the wood, and hides him in his <i>dray</i>."</p> + +</div> + +<p>Cowper uses the word <i>dray</i> with reference to the same animal:</p> + +<div class="poem"> + + <p>"Chined like a squirrel to his <i>dray</i>."</p> + + <p class="author">"A Fable," Southey's <i>Edit.</i> viii. 312.</p> + +</div> + +<p>What is the correct meaning of this word? Richardson, from Barrett, +says, "a <i>dray</i> or <i>sledde</i>, which goeth without wheels." And adds, +"also applied to a carriage with low, heavy wheels, dragged heavily +along, as a brewer's <i>dray</i>."</p> + +<p>He then quotes the passage from Cowper, containing the above line.</p> + + <p class="right"> F. B. R<span class="smcap lowercase">ELTON</span>.</p> + + + + +<h4><span>166. <i>Son of the Morning.</i>—</span></h4> + + <div class="poem"> + + <p> "Son of the morning, rise! approach you here!</p> + <p> Come—but molest not yon defenceless urn:</p> + <p> Look on this spot—a nation's sepulchre!</p> + <p>Abode of gods, whose shrines no longer burn.</p> + <p>Even gods must yield—religions take their turn:</p> + <p>'Twas Jove's—'tis Mahomet's—and other creeds</p> + <p> Will rise with other years, till man shall learn</p> + <p> Vainly his incense soars, his victim bleeds;</p> + <p> Poor child of Doubt and Death, whose hope is built on reeds."</p> + +</div> + +<p>How many read the above beautiful stanza from <i>Childe Harold</i>, Canto II. +Stanza 3., without asking themselves who the "Son of the morning" is. +Perhaps some of your literary correspondents and admirers of Byron may +be able to tell us. I enclose my own solution for your information.</p> + + +<p class="right"> A<span class="smcap lowercase">N</span> <span class="smcap lowercase">OLD</span> B<span class="smcap lowercase">ENGAL</span> C<span class="smcap lowercase">IVILIAN</span>.</p> + + + +<h4><span>167. <i>Gild Book.</i></span></h4> + +<p>—The Gild-Book of the "Holy Trinity Brotherhood" of +St. Botolph's without Aldersgate, London, once belonged to Mr. W. Hone, +by whom it is quoted in his <i>Ancient Mysteries</i>, p. 79. If any of the +readers of "N<span class="smcap lowercase">OTES AND</span> Q<span class="smcap lowercase">UERIES</span>" would be so kind as to let me know where +this MS. is to be found, I should be very thankful.</p> + + + <p class="right"> D. R<span class="smcap lowercase">OCK</span>.</p> + + <p class="left"> Buckland, Faringdon.</p> + + + + + +<h2><span class="bla">Replies.</span></h2> + + +<h3><span>POPE AND FLATMAN.<br /> +(Vol. iv., p. 132.)</span></h3> + +<p>In the edition of Pope's <i>Works</i> published by Knapton, Lintot, and +others, 1753, 9 vols., I find<a id="find210"></a> + <span class="pagenum">[210]</span> + the following note to the Ode +entitled "The Dying Christian to his Soul:"—</p> + +<p class="blockquot">"This Ode was written in imitation of the famous Sonnet of + Hadrian to his departing Soul, but as much superior to his + original in sense and sublimity as the Christian religion is to + the pagan."</p> + +<p>This is confirmed by the correspondence of Pope with Steele, vol. vii. +pp. 185, 188, 189, 190. Letters 4, 7, 8, and 9.</p> + +<p>That Pope also derived some hints at least from Flatman's Ode is, I +think, certain, from the following extract from a bookseller's catalogue +of a few years' date:</p> + +<p class="blockquot"> "Flatman, Thos., Poems and Songs. Portrait slightly damaged. + 8vo., new, cf. gt. back, 8s. With autograph of Alex. Pope.</p> + +<p class="blockquot">"MS. Note at p. 55.—'This next piece, <i>A Thought on Death</i>, is + remarkable as being the verses from which Pope borrowed some of + the thoughts in his Ode of The Dying Christian to his Soul.'"</p> + + <p class="right"> F. B. R<span class="smcap lowercase">ELTON</span>.</p> + + +<p>The question whether Flatman borrowed from Pope or Pope from Flatman +(the former seems far more probable) may perhaps be decided by the date +of Flatman's composition, if that can be ascertained. Pope's ode was +composed in November, 1712, as recorded in the interesting series of +letters in the correspondence between Pope and Steele (<i>Letters</i> iv. to +ix.) and in the 532nd number of the <i>Spectator</i>. From Steele's letter it +appears that the stanzas were composed for music: is any setting of them +known, anterior to that by Harwood, which has obtained such universal +popularity, in spite of its many undeniable errors in harmony? Is +anything known of this composer? he certainly was not deficient either +in invention or taste, and must have written other pieces worthy to be +remembered.</p> + + <p class="right"> E. V.</p> + +<p>It seems probable that the coincidence between the passages of Thomas +Flatman and Pope, indicated at p. 132., arises from both imitating the +<i>alliteration</i> of the original:</p> + + <div class="poem"> + +<p> "<i>Animula, vagula, blandula,</i></p> + <p>Hospes, comesque corporis,</p> + <p>Quæ nunc abibis in loca,</p> + <p> <i>Pullidula, rigida, undula</i>?</p> + <p> Nec, ut soles, dabis jocos."</p> + +</div> + +<p>Casaubon (<i>Hist. Ang. Script.</i>, t. i. p. 210. ed. Lug. Bat.) has totally +lost sight of this in his Greek translation.</p> + + <p class="right"> T<span class="smcap lowercase">HEODORE</span> B<span class="smcap lowercase">UCKLEY</span>.</p> + + + + +<h3><span>TEST OF STRENGTH OF A BOW.<br /> +(Vol. iv., p. 56.)</span></h3> + +<p>Although unable to answer all the Queries of T<span class="smcap lowercase">OXOPHILUS</span>, the subjoined +information may possibly advantage him. His Queries of course have +reference to the long bow, and not to the arbalest, or cross-bow. The +length of this bow appears to have varied according to the height and +strength of the bowman; for in the 12th year of the reign of Edward IV. +an act was passed ordaining that every Englishman should be possessed of +a bow of his own height. Bishop Latimer also, in one of his sermons, +preached before Edward VI., and published in 1549, wherein he enforces +the practice of archery, has the following passage:</p> + +<p class="blockquot"> "In my time my father taught me how to draw, how to lay my body + in my bow, and not to draw with strength of arms, as other + nations do, but with strength of body. I had my bows brought me + according to my age and strength: as I increased in them, so my + bows were made bigger and bigger."</p> + +<p>The length of the full-sized bow appears to have been about six feet: +the arrow, three.</p> + +<p>The distance to which an arrow could be shot from the long bow of course +depended, in a great measure, upon the quality and toughness of the +wood, as well as upon the skill and strength of the archer; but I +believe it will be found that the tougher and more unyielding the bow, +the greater the strength required in bending it, and consequently the +greater the force imparted to the arrow. The general distance to which +an arrow could be shot from the long bow seems to have been from eleven +to twelve score yards; although there are instances on record of +individuals shooting from 400 to 500 yards.</p> + +<p>The best bows used by our ancestors were made of yew, as it appears from +a statute made in the thirty-third year of the reign of Henry VIII., by +which it was enacted—</p> + +<p class="blockquot"> "That none under the age of seventeen should shoot with a bow of + yew, except his parents were worth 10<i>l.</i> per annum in lands, or + 40 marks in goods: and for every bow made of yew, the bowyer not + inhabiting London or the suburbs should make four, and the + inhabitant there two, bows of other wood."</p> + +<p>These restrictions were doubtless owing to the great scarcity of yew. +The other woods most in request were elm, witch-hazel, and ash. By the +statute 8th of Elizabeth, cap 3., it was ordained that every bowyer +residing in London should have always ready fifty bows of either of the +before-mentioned woods. By this statute also the prices at which the +bows were to be sold were regulated.</p> + +<p>I believe the ancient bows were made of one piece; whether there is any +advantage to be derived in having a bow of more than two pieces, I leave +for some one better qualified than myself to determine.</p> + +<p>As regards arrows, Ascham, in his <i>Toxophilus</i>, has enumerated fifteen +sorts of wood of which arrows were made in his time, viz. brasell, +turkie-wood, fusticke, sugercheste, hard-beam, byrche, ash, oak, +service-tree, alder, blackthorn, elder,<a id="elder211"></a> + <span class="pagenum">[211]</span> + beach, aspe, and sallow; +of these aspe and ash were accounted the best; the one for +target-shooting, the other for war. The author of <i>The Field Book</i> says:</p> + +<p class="blockquot">"That an arrow weighing from twenty to four-and-twenty + pennyweights, made of yew, was considered by archers the best + that could be used."</p> + + <p class="right"> D<span class="smcap lowercase">AVID</span> S<span class="smcap lowercase">TEVENS</span>.</p> + + <p class="left"> Godalming.</p> + +<p>The method of trying and proving a bow is stated by Ascham to be thus:</p> + +<p class="blockquot">"By shooting it in the fields, and <i>sinking</i> it with <i>dead heavy</i> + shafts; looking where it <i>comes</i> most, and providing for that + place betimes, lest it pinch and so fret. When the bow has thus + been shot in, and appears to contain good shooting wood, it must + be taken to a skilful workman, to be cut shorter, scraped, and + dressed fitter, and made to come circularly round; and it should + be whipped at the ends, lest it snap in sunder or fret sooner + than the archer is aware of."</p> + +<p>It is calculated that an arrow may be shot 110 yards for every 20 lbs. +weight of the bow.</p> + +<p>As regards the length of the old English bow, the statute 5th of Edward +IV. cap. 4., runs thus:</p> + +<p class="blockquot"> "That every Englishman, and Irishmen that dwell with Englishmen + and speak English, that be between sixteen and sixty in age, + shall have an English bow of his own length."</p> + +<p>Ascham recommended for men of average strength arrows made of birch, +hornbeam, oak, and ash.</p> + +<p>The foregoing is extracted from a work entitled <i>The English Bowman</i>, by +T. Roberts, 1801.</p> + + + <p class="right"> P<span class="smcap lowercase">HILOSOPHUS</span>.</p> + + + +<h3><span>BASKERVILLE THE PRINTER.<br /> +(Vol. iv., pp. 40. 123.)</span></h3> + +<p>Hansard's <i>Typographia</i>, i. 8vo. 1825, Preface, p. xii—xiii.:</p> + + <p class="blockquot">"Of the more modern portraits something remains to be said, and + particularly of that of Baskerville. It has been hitherto + supposed that no likeness is extant of this first promoter of + fine printing, and author of various improvements in the + Typographic Art, as well as in the arts connected with it. At the + time when I was collecting information for that part of my work + in which Mr. Baskerville is particularly mentioned (p. 310. <i>et + seq.</i>), I thought it a good opportunity to make inquiry at + Birmingham whether any portrait or likeness of him remained; for + a long time the inquiry was constantly answered in the negative, + but at last it occurred to a friend to make a search among the + family of the late Mrs. Baskerville, and he was successful. Mr. + Baskerville married the widow of a Mr. Eaves; her maiden name was + Ruston; she had two children by her former husband, a son and a + daughter: the latter married her first cousin, Mr. Josiah Ruston, + formerly a respectable druggist at Birmingham, and she survived + her husband. At the sale of some effects after her decease, + portraits of her mother and her father-in-law, Mr. Baskerville, + were purchased by Mr. Knott of Birmingham. Some of Mr. Ruston's + family and friends who are still living, consider this likeness + of Mr. Baskerville as a most excellent and faithful resemblance. + It was taken by one Miller, an artist of considerable eminence in + the latter part of Baskerville's time. The inquiries of my friend + Mr. Grafton, of Park Grove, near Birmingham, at once brought this + painting into notice: and at his solicitation Mr. Knott kindly + permitted Mr. Raven of Birmingham, an artist of much celebrity, + to copy it for my use and the embellishment of this work; to + which, I think, the united talents of Mr. Craig and Mr. Lee have + done ample justice."</p> + +<p>The portrait faces p. 310. of Mr. Hansard's book, and there may be found +an account, though somewhat different, of the exhumation alluded to by +M<span class="smcap lowercase">R</span>. S<span class="smcap lowercase">T</span>. J<span class="smcap lowercase">OHNS</span> (Vol. iv., p. 123.), which took place in May, 1821.</p> + +<p class="right"> C<span class="smcap lowercase">RANMORE</span>.</p> + +<p>In answer to an inquirer I beg respectfully to state that the body of +the eminent printer now reposes, as it has for some years, in the vaults +of Christ Church in our town.</p> + + <p class="right"> W<span class="smcap lowercase">ILLIAM</span> C<span class="smcap lowercase">ORNISH</span>.</p> + + <p class="left"> New Street, Birmingham.</p> + + + + +<h3><span class="bla">Replies to Minor Queries.</span></h3> + +<h4><span><i>Mazer Wood and Sin-eaters</i></span> <span>(Vol. iii., pp. 239. 288.).</span></h4> + +<p>—The following +extract from Hone's <i>Year Book</i>, p. 858., will add to the explanation +furnished by S. S. S., and will also give an instance of the singular +practices which prevailed among our ancestors:—</p> + +<p class="blockquot">"Among the Lansdowne MSS. in the British Museum are statements in + Aubrey's own handwriting to this purport. In the county of + Hereford, was an old custom at funerals, to hire poor people, who + were to take upon them the sins of the party deceased. One of + them (he was a long, lean, ugly, lamentable, poor rascal), I + remember, lived in a cottage on Rosse highway. The manner was, + that when the corpse was brought out of the house, and laid on + the bier, a loaf of bread was brought out, and delivered to the + sin eater, over the corpse, as also a <i>mazard bowl</i> of maple, + full of beer (which he was to drink up), and sixpence in money, + in consideration whereof he took upon him, <i>ipso facto</i>, all the + sins of the defunct, and freed him or her from walking after they + were dead."</p> + +<p>Perhaps some of your readers may be able to throw some light on this +curious practice of <i>sin-eating</i>, or on the existence of regular +<i>sin-eaters</i>.</p> + + <p class="right"> E. H. B.</p> + + <p class="left"> Demerary.</p> + +<p class="blockquot"> [Mr. Ellis, in his edition of Brande's <i>Popular Antiquities</i>, + vol. ii. p. 155. 4to. has given a curious passage from the + Lansdowne MSS. concerning a sin-eater who lived in Herefordshire, + which has been quoted in the <i>Gentleman's Magazine</i>, vol. xcii. + pt. i. p. 222.]</p> + + + + +<h4><span>"<i>A Posie of other Men's Flowers</i>"</span> <span>(Vol. iv., pp. 58. 125.).</span></h4> + +<p>—If D. Q. +should succeed in finding<a id="finding212"></a> + <span class="pagenum">[212]</span> + this saying in Montaigne's Works, I +hope he will be kind enough to send an "Eureka!" to "N<span class="smcap lowercase">OTES AND</span> Q<span class="smcap lowercase">UERIES</span>," +as by referring to pp. 278. 451. of your second volume he will see that +I am interested in the question.</p> + +<p>I am still inclined to think that the metaphor, <i>in its present concise +form</i> at all events, does <i>not</i> belong to Montaigne, though it may owe +its origin to some passage in the <i>Essays</i>. See, for example, one in +book i. chap. 24.; another in book ii. chap. 10., in Hazlitt's second +edition, 1845, pp. 54. 186.</p> + +<p>But I have not forgotten Montaigne's motto, "Que sçais-je?" The chances +are that I am wrong. I should certainly like to see his right to the +saying satisfactorily proved by reference to book, chapter, and page.</p> + + <p class="right"> C. F<span class="smcap lowercase">ORBES</span>.</p> + + <p class="left"> Temple.</p> + +<p>At the conclusion of the preface to the thick 8vo. edition of the +<i>Elegant Extracts, Verse</i>, published by C. Dilly, 1796, you will find +these words:—</p> + +<p class="blockquot"> "I will conclude my preface with the <i>ideas of Montaigne</i>. 'I + have here only made a nosegay of culled flowers, and have brought + nothing of my own but the thread that ties them.'"</p> + + <p class="right"> R. S. S.</p> + + <p class="left"> 56. Fenchurch Street.</p> + + + + +<h4><span><i>Table Book</i></span> <span>(Vol. i., p. 215.).</span></h4> + +<p>—See <i>Transactions of the Royal Irish +Academy</i>, vol. xxi., Antiq. pp. 3-15, and some specimens in the museum +of the Academy. (<i>Proceedings</i>, vol. iii. p. 74.)</p> + + <p class="right"> R. H.</p> + + + + +<h4><span><i>Briwingable</i></span> <span>(Vol. iv., p. 22.).</span></h4> + +<p>—I cannot find this word in any +authority to which I have access. I derive it from</p> + +<p class="center"> +<img src="images/image01.jpg" width="120" height="99" alt="Saxon" /> +</p> + +<p> Sax. {briþan}, to brew, + and {Eafel}, a tax; and think it the same as +<i>tolsester</i>, a duty payable to the lord of the manor by ale-brewers, +mentioned in Charta 55 Hen. III.: "Tolsester cerevisie, hec est pro +quolibet braccino per annum unam lagenam cerevisie."</p> + + + + <p class="right"> F. J.</p> + + + +<h4><span><i>Simnels</i></span> <span>(Vol. iii., pp. 390. 506.).</span></h4> + +<p>—T. very sensibly suggests that +Lambert <i>Simnel</i> is a nickname derived from a kind of cake still common +in the north of England, and eaten in Lent. I have never met with +<i>Simnel</i> as a surname, and have actually been told, as a child, that the +Simnels were called after Lambert; which is so far worthy of note as +that it connects the two together in tradition, though, no doubt, as T. +suggests, it is Lambert who was called after the Simnels. As a child I +took the liberty to infer, in consequence, that Parkins (gingerbread of +oatmeal instead of flour, and also common in the north of England) were +called after Perkin Warbeck. I am aware of the superior claim of +Peterkin now; but the coincidence may perhaps amuse your correspondents.</p> + +<p class="right"> †</p> + + + +<h4><span><i>A Ship's Berth</i></span> <span>(Vol. iv., p. 83.).</span></h4> + +<p>—I would suggest to your +correspondents S. S. S. (2) another derivation for our word <i>berth</i>.</p> + +<p>The present French <i>berceau</i>, a cradle, was in the Norman age written +<i>berȝ</i>, as appears in a MSS. <i>Life of St. Nicholas</i> in +the Bodleian Library. This Life has been printed at Bonn by Dr. Nicolaus +Delius, 1850; but in the print the character ȝ has been +represented by the ordinary z. This is a pity, because, as all know who +are familiar with our MSS. of the twelfth and thirteenth centuries, this +figure ȝ took not unfrequently the place of ð (th); and + on this account it is a character which ought to be +scrupulously preserved in editing. <i>Berȝ</i> then was +probably pronounced <i>berth</i>, or possibly with a little more of the +sibilant than is now found in the latter. How easily the <i>sibilant</i> and +the <i>th</i> run into one another may be seen by the third person singular +of our present Indicative:</p> + +<table summary="sibilant and th"> + +<tr> +<td></td> +<td>saith</td> <td> says.</td> +</tr> + +<tr> +<td></td> +<td>doth </td> <td> does.</td> +</tr> + +<tr> +<td></td> +<td>hopeth </td> <td> hopes.</td> +</tr> + +</table> + + +<p class="right"> J. E.</p> + +<p class="left"> Oxford, August 2. 1851.</p> + + + +<h4><span><i>Suicides buried in Cross-roads</i></span> <span>(Vol. iv., p. 116.).</span></h4> + +<p>—P. M. M. makes +inquiry respecting a practice formerly observed of <i>burying murderers in +cross-roads</i>. I have often heard that <i>suicides</i> were formerly interred +in such places, and that a stake used to be driven through the body. I +know of two places in the neighbourhood of <i>Boston</i> in Lincolnshire, +where such burials are stated to have taken place. One of these is about +a mile and a half south of Boston, on what is called the <i>low</i> road to +Freiston; a very ancient <i>hawthorn tree</i> marks the spot, and the tree +itself is said to have sprung from the stake which was driven through +the body of the self-murderer. The tradition was told me sixty years +since, and the interment was <i>then</i> said to have occurred <i>a hundred +years ago</i>; the suicide's name was at that time traditionally +remembered, and was told to me, but I cannot recall it. The tree +exhibits marks of great age, and is preserved with care; it still bears +"may," as the flower of the whitethorn is called, and <i>haws</i> in their +season.</p> + +<p>The second grave (as it is reported) of this kind is on the high road +from Boston to Wainfleet, at the intersection of a road leading to +Butterwick, at a place called <i>Spittal Hill</i>; near the site of the +ancient hospital or infirmary, which was attached to the Priory of St. +James at Freiston. This spot is famous in the traditions of the +neighbourhood as the scene of the appearance of a sprite or hobgoblin, +called the "<i>Spittal Hill</i> T<span class="smcap lowercase">UT</span>;" which takes, in the language of the +district, the shape of a <span class="smcap lowercase">SHAG</span> <i>foal</i>, and is said to be connected with +the history of the suicide buried there.<a id="there213"></a> + <span class="pagenum">[213]</span></p> + +<p>T<span class="smcap lowercase">UT</span> is a very general term applied in Lincolnshire to any fancied +supernatural appearance. Children are frightened by being told of <i>Tom +Tut</i>; and persons in a state of panic, or unreasonable trepidation, are +said to be <i>Tut-gotten</i>.</p> + + + <p class="right"> P. T.</p> + +<p class="left"> Stoke Newington, Aug. 30.</p> + + + + +<h4><span><i>A Sword-blade Note</i></span> <span>(Vol. iv., p. 176.).</span></h4> + +<p>—The sword-blade note, to +which R. J. refers, was doubtless a note of the Sword-blade Company, +which was intimately connected with the South Sea Company. In the +narrative respecting the latter company, given in <i>The Historical +Register</i> for 1720, is an account of a conference between the South Sea +Directors and those of the Bank of England: therein is the following +passage:</p> + +<p class="blockquot"> "And when it was urg'd that the <i>Sword Blade</i> Company should come + into the Treaty; <i>By no means</i>, reply'd <i>Sir Gilbert</i> + [Heathcote]; <i>for if the</i> South Sea <i>Company be wedded to the + Bank, he ought not to be allow'd to keep a Mistress</i>. The Event + show'd that the Bank acted with their usual Prudence, in not + admitting the <i>Sword Blade</i> Company into a + Partnership."—<i>Historical Register</i> for 1720, p. 368.</p> + +<p>At p. 377. of the same work it is stated, that on the 24th of September +the Sword-blade Company, "who hitherto had been the chief cash keepers +to the South Sea Company," stopped payment, "being almost drain'd of +their ready money."</p> + +<p>Perhaps some of your correspondents may be able to elucidate the rise, +transactions, and "winding up" of the Sword-blade Company.</p> + + +<p class="right"> C. H. C<span class="smcap lowercase">OOPER</span>.</p> + +<p class="left"> Cambridge, Sept. 6. 1851.</p> + + + +<h4><span><i>Domesday Book of Scotland</i></span> <span>(Vol. iv., p. 7.).</span></h4> + +<p>—Your correspondent +A<span class="smcap lowercase">BERDONIENSIS</span> is informed that what he is in quest of was published by +the "Bannatyne Club," under the name of the "Ragman Rolls," in 1834, +4to. It is entitled, <i>Instrumenta Publica sive Processus super +Fidelitatibus et Homagiis Scotorum Domino Regi Angliæ factis</i>, +<span class="smcap lowercase">A.D. M.CC.XCI.—M.CC.XCVI.</span></p> + +<p class="blockquot"> "The documents contained in this volume have not been selected in + the view of reviving or illustrating the ancient National + Controversy as to the feudal dependence of Scotland on the + English Crown. It has been long known that in these Records may + be found the largest and most authentic enumerations now extant + of the Nobility, Barons, Landholders and Burgesses, as well as of + the Clergy of Scotland, prior to the fourteenth century. No part + of the public Records of Scotland prior to that era has been + preserved, and whatever may have been their fate, certain it is, + that to these English Records of our temporary national + degradation, are we now indebted for the only genuine Statistical + Notices of the Kingdom towards the close of the thirteenth + century."</p> + +<p class="indh6"><span class="topnum">*</span><span class="botnum">*</span><span class="topnum">*</span> "This singular document, so often quoted and + referred to, was never printed <i>in extenso</i>."</p> + +<p class="right"> T. G. S.</p> + +<p class="left"> Edinburgh.</p> + + + +<h4><span><i>Dole-bank</i></span> <span>(Vol. iv., p. 162.).</span></h4> + +<p>—In processions on Holy Thursday, it +was usual to <i>deal</i> cakes and bread to the children and the poor of the +parish at boundary-banks, that they might be duly remembered. Hence the +name.</p> + +<p class="right"> R. S. H.</p> + +<p class="left"> Morwenstow.</p> + + + +<h4><span><i>The Letter "V"</i></span> <span>(Vol. iv., p. 164.).</span></h4> + +<p>—If S. S. will turn again to my +remarks on this letter, he will see that I did not state that <i>Tiverton</i> +was ever pronounced <i>Terton</i>. I accede to what he has said of +<i>Twiverton</i>; Devonshire was inadvertently written for Somersetshire. +With regard to the observations of A. N. (p. 162.), he will find those +remarks were confined to the <i>v</i> between two vowels, <i>i.e.</i> without any +other consonant intervening; and, therefore, other forms of contraction +did not fall within the scope of them. I refrained from adverting to any +such words as Elvedon and Kelvedon (pronounced respectively Eldon and +Keldon), because the abbreviation of these may be referable to another +cause. In passing I would mention that I think there can be no +reasonable doubt that the word <i>dool</i>, about which he inquires, is no +other than the Ang.-Sax. <i>dāl</i>, a division, from <i>daelan</i>, to divide; +and whence our words <i>deal</i> and <i>dole</i>. But to return to the letter <i>v</i>, +if M<span class="smcap lowercase">R</span>. S<span class="smcap lowercase">INGER</span> be correct as to <i>devenisch</i> in the MS. of the <i>Hermit of +Hampole</i> being written for Danish (p. 159.), it seems an example of the +peculiar use of this letter to which I have invited attention, for the +writer hardly intended it to be pronounced as three syllables if he +meant Danish. However, if that MS. be a transcript, may not the supposed +<i>v</i> have been originally an <i>n</i>, which was first mis-read <i>u</i>, and then +copied as a <i>v</i>?</p> + +<p class="right"> W. S. W.</p> + + + +<h4><span><i>Cardinal Wolsey</i></span> <span>(Vol. iv., p. 176.).</span></h4> + +<p>—The following anecdote, taken +from a common-place book of Sir Roger Wilbraham, who was Master of the +Requests in the time of Queen Elizabeth, appears to have some bearing on +the subject referred to in the page of your publication which I have +quoted above:—</p> + +<p class="blockquot"> "Cooke, attorney, at diner Whitsunday +<a id="diner1"></a><a title="Go to footnote 1." href="#fn1" class="fnanchor">[1]</a> ista protulit.</p> + +<p class="blockquot">"Wolsey, a prelate, was flagrante crimine taken in fornication by + S<span class="smcap lowercase">r</span> Anthony Pagett + of y<span class="smcap lowercase">e</span> West, + and put in y<span class="smcap lowercase">e</span> stokes. After + being made Cardinall, S<span class="smcap lowercase">r</span> Anthony + sett up his armes on y<span class="smcap lowercase">e</span> middle + Temple gate: y<span class="smcap lowercase">e</span> Cardinall passing + in pontificalibus, and spying + his owne armes, asked who sett them up. Answare was made + y<span class="smcap lowercase">t</span> y<span class="smcap lowercase">e</span> + said Mr. Pagett. He smiled saying, he is now well reclaymed; for + wher before he saw him in disgrace, now he honoured him."</p> + +<p class="footnote"><a id="fn1"></a><a title="Return to text." href="#diner1" class="label">[1]</a> This was probably in 1598.</p> + +<p class="right"> W. L.</p> + + + +<h4><span><i>Nervous</i></span> <span>(Vol. iv., p. 7.).</span></h4> + +<p>—<i>Nervous</i> has unquestionably the double +meaning assigned to it in<a id="in214"></a> +<span class="pagenum">[214]</span> + M<span class="smcap lowercase">R</span>. B<span class="smcap lowercase">ANNEL'S</span> Query. The propriety of +the English practice, in this respect, may be doubted. <i>Nervous</i> is +correctly equivalent to Lat. <i>nervosus</i>; Fr. <i>nerveux</i>, strong, +vigorous. In the sense of <i>nervous weakness</i>, or, perhaps more +correctly, <i>nervine weakness</i>, the word should probably be <i>nervish</i>, +analogous to <i>qualmish</i>, <i>squeamish</i>, <i>aguish</i>, <i>feverish</i>, &c. In +Scotland, though the English may regard it as a vulgarism, I have heard +the word used in this form.</p> + +<p class="right"> F. S. Q.</p> + + + +<h4><span><i>Coleridge's Essays on Beauty</i></span> <span>(Vol. iv., p. 175.).</span></h4> + +<p>—I have copies of +the <i>Essays</i> referred to. They were republished about 1836 in Fraser's +<i>Literary Chronicle</i>.</p> + +<p class="right"> M<span class="smcap lowercase">ORTIMER</span> C<span class="smcap lowercase">OLLINS</span>.</p> + +<p class="left"> Guernsey.</p> + + + +<h4><span><i>"Nao" or "Naw," a Ship</i></span> <span>(Vol. iv., p. 28.).</span></h4> + +<p>—I have already answered +G<span class="smcap lowercase">OMER</span> upon the imaginary word <i>naw</i>, a ship: I beg now to remark on + M<span class="smcap lowercase">R</span>. F<span class="smcap lowercase">ENTON'S</span> <i>nav</i>. + If <i>nav</i> was a ship at all, I am at a loss to know why +it should be "a much older term." It would probably be subsequent to the +introduction of the Latin noun, which it docks of its final <i>is</i>. The +word or name is quoted from a Triad, the ninety-seventh of that series +which contains the mention of Llewelyn ap Griffith, the last prince of +Wales; and what makes it "one of the oldest" Triads, I have no idea. Nor +do I know what ascertains the date of any of them; or removes the date +of the composition of any one of them beyond the middle ages.</p> + +<p>But <i>Nevydd</i> is no very uncommon proper name of men and women, derived +from <i>nev</i>, heaven; and <i>nav neivion</i> is simply "lord of lords." It +forms the plural like <i>mab</i>, <i>meibion</i>, and <i>march</i>, <i>meirchion</i>. Mr. +Walters gives <i>nav</i> under no words but <i>lord</i>. David ap Gwelyn either +mentions the navigation of the lords, the Trojan chieftains, to Britain; +or else that of Nevydd Nav Neivion, cutting short his title. But the +former is the plain sense of the thing. If M<span class="smcap lowercase">R</span>. F<span class="smcap lowercase">ENTON</span> will only turn to +Owen's <i>Dictionary</i> (from which <i>naw</i>, a ship, is very properly +excluded) he will there find the quotation from Gwalchmai; in which the +three Persons of the Trinity are styled the <i>Undonion Neivion</i>, +"harmonizing or consentaneous Lords." He will scarcely make bold to turn +them into ships.</p> + +<p class="right"> A. N.</p> + + + +<h4><span><i>Unde derivatur Stonehenge</i></span> <span>(Vol. iv., p. 57.).</span></h4> + +<p>—Your correspondent P. +P. proposes to interpret this word, <i>horse-stones</i>, from <i>hengst</i>, the +Saxon for a horse; and to understand thereby large stones, as the words +<i>horse-chesnut</i>, <i>horse-daisy</i>, <i>horse-mushroom</i>, &c., mean large ones. +But, if he had duly considered the arguments contained in Mr. Herbert's +<i>Cyclops Christianus</i>, pp. 162-4., he would have seen the necessity of +showing, that in Anglo-Saxon and English the description can follow, in +composition, the thing described; which it seems it can do in neither. +In support of his stone-horse, he should have produced a chesnut-horse +in the vegetable sense; a daisy-horse, or a mushroom-horse. Till he does +that, the grammatical canon appealed to by that author, will remain in +as full force against the stone-horse as against the stone-hanging.</p> + + <p class="right"> E. A. M.</p> + + + +<h4><span><i>Nick Nack</i></span> <span>(Vol. iii., p. 179.).</span></h4> + +<p>—A rude species of music very common +amongst the boys in Sheffield, called by them <i>nick-a-nacks</i>. It is made +by two pieces of bone, sometimes two pieces of wood, placed between the +fingers, and beaten in time by a rapid motion of the hand and fingers. +It is one of the periodical amusements of the boys going along the +streets.</p> + +<p class="blockquot">"And with his right drew forth a truncheon of a white ox rib, and + two pieces of wood of a like form; one of black Eben, and the + other of incarnation Brazile; and put them betwixt the fingers of + that hand, in good symmetry. Then knocking them together, made + such a noise, as the lepers of Britany use to do with their + clappering clickets; yet better resounding, and far more + harmonious."—<i>Rabelais</i>, book ii. c. 19.</p> + +<p class="right"> H. J.</p> + + + +<h4><span><i>Meaning of Carfax</i></span> <span>(Vol. iii., p. 508.).</span></h4> + +<p>—E. J. S. says "Carfoix +reminds me of Carfax in Oxford. Are the names akin to each other?" When +at Oxford I used to hear that Carfax was properly Quarfax, a contraction +for <i>quatuor facies</i>, four faces. The church, it will be remembered, +looks one way to High Street, another to Queen Street, a third to the +Cornmarket, and the fourth to St. Aldates's.</p> + + <p class="right"> H. T. G.</p> + + + +<h4><span><i>Hand giving the Benediction</i></span> <span>(Vol. iii., p. 477.).</span></h4> + +<p>—Rabbi Bechai tells +us of the solemn blessing in Numbers vi. 25, 26, 27., in which the name +Jehovah is thrice repeated, that, when the high priest pronounced it on +the people, "elevatione manuum <i>sic digitos composuit ut</i> TRIADA +<i>exprimerent</i>."</p> + + +<p class="right"> W. F<span class="smcap lowercase">RASER</span>.</p> + + + +<h4><span><i>Unlucky for Pregnant Women to take an Oath</i></span> <span>(Vol. iv., p. 151.).</span></h4> + +<p>—I beg +to inform C<span class="smcap lowercase">OWGILL</span> that Irishwomen of the lower order almost invariably +refuse to be sworn while pregnant. Having frequently had to administer +oaths to heads of families applying for relief during the famine in +Ireland in 1847-8-9, I can speak with certainty as to the fact, though I +am unable to account for the origin of the superstition.</p> + + <p class="right"> B<span class="smcap lowercase">ARTANUS</span>.</p> + +<p class="left"> Dublin.</p> + + + +<h4><span><i>Borough-English</i></span> <span>(Vol. iv., p. 133.).</span></h4> + +<p>—<i>Burgh</i> or <i>Borough-English</i> is +a custom appendant to <i>ancient</i> boroughs, such as existed in the days of +Edward the Confessor and William the Conqueror, and are contained in the +Book of Domesday. Taylor, in his <i>History of Gavelkind</i>, p. 102., +states, that in the villages round the city of Hereford, the lands are +all held in the tenure of Borough-English. There appears also to be a +customary<a id="customary215"></a> + <span class="pagenum">[215]</span> +descent of lands and tenements in some places called +<i>Borow-English</i>, as in Edmunton: vid. <i>Kitchin of Courts</i>, fol. 102. The +custom of <i>Borough-English</i>, like that of gavelkind, and those of London +and York, is still extant; and although it may have been in a great +measure superseded by <i>deed</i> or <i>will</i>, yet, doubtless, instances occur +in the present day of its vitality and consequent operation.</p> + +<p class="right"> F<span class="smcap lowercase">RANCISCUS</span>.</p> + + + +<h4><span><i>Date of a Charter</i></span> <span>(Vol. iv., p. 152.).</span></h4> + +<p>—I suspect that the charter to +which M<span class="smcap lowercase">R</span>. H<span class="smcap lowercase">AND</span> refers, is one of the time of Henry II., and not of Henry +III. The latter sent no daughter to Sicily; but Joan, the daughter of +the former, was married to William, king of Sicily, in the year 1176, 22 +Henry II. In the Great Roll of that year (Rot. 13 b.) are entries of +payments for hangings in the king's chamber on that occasion, and of +fifty marks given to Walter de Constantiis, Archdeacon of Oxford, for +entertaining the Sicilian ambassadors. See Madox's <i>Exchequer</i>, i. 367., +who also in p. 18. refers to Hoveden, P. 2. p. 548. This may perhaps +assist in the discovery of the precise date, which I cannot at present +fix.</p> + +<p class="right"> <span title="[Greek: Ph.]">Φ</span>.</p> + + + + + +<h2><span class="bla">Miscellaneous.</span></h2> + + +<h3><span>NOTES ON BOOKS, SALES, CATALOGUES, ETC.</span></h3> + +<p><i>The Jansenists: their Rise, Persecutions by the Jesuits, and existing +Remnant; a Chapter in Church History</i>: by S. P. Tregelles, LL.D., is an +interesting little monograph, reprinted with additions from Dr. Kitto's +<i>Journal of Biblical Literature</i>, and enriched with portraits of +Jansenius, St. Cyran, and the Mère Angelique. The history of the +Jansenist Church lingering in separate existence at Utrecht affords a +new instance of Catholicity of doctrine apart from the Papal communion; +and as such cannot fail to have a peculiar interest for many of our +readers.</p> + +<p>The long, brilliant, and important reign of Louis XIV. has had many +chroniclers. The <i>Mémoires</i> written by those who figured in its busy +scenes are almost innumerable; many, as may be supposed from the +character of the monarch and the laxity of the court, being little +calculated for general perusal. Mr. James therefore did good service +when he presented the reading world with his historical view of <i>The +Life and Times of Louis XIV.</i>, a work in which, while he has done full +justice to the talents and genius of the monarch, and the brilliancy of +the circle by which he was surrounded, he has not allowed that splendour +so to dazzle the eyes of the spectator as to blind him to the real +infamy and heartlessness with which it was surrounded. We are therefore +well pleased to see Mr. James's history reprinted as the two new volumes +of Bohn's <i>Standard Library</i>.</p> + +<p>Mr. L. A. Lewis of 125. Fleet Street will sell on Friday next two +extraordinary Collections of Tracts on Trade, Coinage, Commerce, Banks, +Public Institutions, and Trade generally. The First, in 167 Vols., in +fol., 4to., and 8vo., commences with Milles' <i>Customer's Replie</i>, 1604. +The Second, in 20 Vols., collected upwards of a century since, commences +with H. Gilbert's <i>Discourse of a Discoverie for a New Passage to +Cataia</i>, 1576. Both series should be secured for a Public Library.</p> + +<p>C<span class="smcap lowercase">ATALOGUE</span> R<span class="smcap lowercase">ECEIVED</span>.—J. Millers' (43. Chandos Street) Catalogue No. 28 +of Cheap Books for Ready Money.</p> + + +<h3><span>BOOKS AND ODD VOLUMES<br /> +WANTED TO PURCHASE.</span></h3> + +<ul> + +<li>O<span class="smcap lowercase">THONIS</span> L<span class="smcap lowercase">EXICON</span> R<span class="smcap lowercase">ABBINICUM</span>.</li> + +<li>P<span class="smcap lowercase">LATO</span>. Vols. VIII. X. XI. of the Bipont Edition.</li> + +<li>P<span class="smcap lowercase">ARKINSON'S</span> S<span class="smcap lowercase">ERMONS</span>. Vol. I.</li> + +<li>A<span class="smcap lowercase">THENÆUM</span>. Oct. and Nov. 1848. Parts CCL., CCLI.</li> + +<li>W<span class="smcap lowercase">ILLIS'</span> P<span class="smcap lowercase">RICE</span> C<span class="smcap lowercase">URRENT</span>. Nos. I. III. V. XXIV. XXVI. XXVII.—XLV.</li> + +<li>R<span class="smcap lowercase">ABBI</span> S<span class="smcap lowercase">ALEMO</span> J<span class="smcap lowercase">ACOBES</span> C<span class="smcap lowercase">OMMENTAR ÜBER DEN</span> P<span class="smcap lowercase">ENTATEUCH</span> VON L. H<span class="smcap lowercase">AYMANN</span>. Bonn, 1833.</li> + +<li>R<span class="smcap lowercase">ABBI</span> S<span class="smcap lowercase">ALEMO</span> J<span class="smcap lowercase">ACOBES ÜBER DAS ERSTE</span> B<span class="smcap lowercase">UCH</span> M<span class="smcap lowercase">OSIS VON</span> L. H<span class="smcap lowercase">AYMANN</span>. Bonn, 1833.</li> + +<li>No. 3. of S<span class="smcap lowercase">UMMER</span> P<span class="smcap lowercase">RODUCTIONS</span>, or P<span class="smcap lowercase">ROGRESSIVE</span> M<span class="smcap lowercase">ISCELLANIES</span>, by Thomas Johnson. London, 1790.</li> + +<li>H<span class="smcap lowercase">ISTORY OF</span> V<span class="smcap lowercase">IRGINIA</span>. Folio. London, 1624.</li> + +<li>T<span class="smcap lowercase">HE</span> A<span class="smcap lowercase">POLOGETICS OF</span> A<span class="smcap lowercase">THENAGORAS</span>, Englished by D. Humphreys. London, 1714. 8vo.</li> + +<li>B<span class="smcap lowercase">OVILLUS DE</span> A<span class="smcap lowercase">NIMÆ</span> I<span class="smcap lowercase">MMORTALITATE, ETC.</span> Lugduni, 1522. 4to.</li> + +<li>K<span class="smcap lowercase">UINOEL'S</span> N<span class="smcap lowercase">OV</span>. T<span class="smcap lowercase">EST</span>. Tom. I.</li> + +<li>T<span class="smcap lowercase">HE</span> F<span class="smcap lowercase">RIEND</span>, by Coleridge. Vol. III. Pickering.</li> + +</ul> + + +<p class="indh6"> <span class="topnum">*</span><span class="botnum">*</span><span class="topnum">*</span> Letters, stating particulars and lowest price, <i>carriage +free</i>, to be sent to M<span class="smcap lowercase">R</span>. B<span class="smcap lowercase">ELL</span>, Publisher of "NOTES AND QUERIES," 186. +Fleet Street.</p> + + + + +<h3><span class="bla">Notices to Correspondents.</span></h3> + +<p>F. R. A. <i>The lines referred to by</i> D<span class="smcap lowercase">R</span>. R<span class="smcap lowercase">IMBAULT</span> (Vol. iv., p. 181.) +<i>are not those quoted in that page by</i> A T<span class="smcap lowercase">EMPLAR</span> <i>from the</i> Cobleriana, +<i>but those beginning</i>—</p> + + <div class="poem"> + +<p>"As by the Templars' holds you go,"</p> + +</div> + + +<p><i>respecting which a Query appeared in our</i> 3rd Vol. p. 450.</p> + +<p>J. V<span class="smcap lowercase">ARLEY</span>, Jun. <i>The lines are quoted by Washington Irving, from +Shakspeare's</i> Winter's Tale, Act IV. Sc. 3.</p> + +<p>R<span class="smcap lowercase">T</span>. <i>will perceive that his communications reach us in a very available +form.</i></p> + +<p>O. T. D. <i>is thanked for his suggestions, which shall be adopted as far +as practical. He will find that his communication respecting</i> +Pallavicino <i>has been anticipated in our</i> 3rd Vol., pp. 478. 523.</p> + +<p>P<span class="smcap lowercase">HILO</span>, <i>whose Query appeared in our Number of July 19th, will find a +letter at our Publisher's.</i></p> + +<p>A<span class="smcap lowercase">LTRON</span>. <i>There is no Agent for the sale of</i> "N<span class="smcap lowercase">OTES AND</span> Q<span class="smcap lowercase">UERIES</span>" <i>in +Dublin. It will however no doubt be supplied by any bookseller there +from whom it may be ordered.</i></p> + +<p>R<span class="smcap lowercase">EPLIES</span> R<span class="smcap lowercase">ECEIVED</span>.—<i>Dr. M. Sutcliffe</i>—<i>Description of a Dimple</i>—<i>Carli +the Economist</i>—<i>Decretorum Doctor</i>—<i>Versicle</i>—<i>Querelle +d'Allemand</i>—<i>Ellrake</i>—<i>Sir W. Raleigh in Virginia</i>—<i>M. Lominus +Theologus</i>—<i>Pope's Translations</i>—<i>Wyle Cop</i>—<i>Collar of SS.</i>—<i>What +constitutes a Proverb</i>—<i>Visiting Cards</i>—<i>Going the whole Hog</i>—<i>Lord +Mayor a Privy Councillor</i>—<i>Inscription on a Claymore</i>—<i>Queen +Brunéhaut</i>—<i>Cagots</i>—<i>Written Sermons</i>—<i>Tale of a Tub</i>—<i>Cowper +Law</i>—<i>Murderers buried in Cross-roads</i>—<i>Thread the Needle</i>—<i>Borough +English</i>—<i>Gooseberry Fool</i>—<i>Darby and Joan</i>—<i>Print +Cleaning</i>—<i>Serpent with a Human Head.</i></p> + +<p><i>Copies of our Prospectus, according to the suggestion of</i> T. E. H.<i>, +will be forwarded to any correspondent willing to assist us by +circulating them.</i></p> + +<p>V<span class="smcap lowercase">OLS</span>. I., II., <i>and</i> III., <i>with very copious Indices, may still be had, +price 9s. 6d. each, neatly bound in cloth.</i></p> + +<p>N<span class="smcap lowercase">OTES AND</span> Q<span class="smcap lowercase">UERIES</span> <i>is published at noon on Friday, so that our country +Subscribers may receive it on Saturday. The subscription for the Stamped +Edition is 10s. 2d. for Six Months, which may be paid by Post-office +Order drawn in favour of our Publisher,</i> MR. GEORGE BELL, 186. Fleet +Street; <i>to whose care all communications for the Editor should be +addressed.</i><a id="addressed216"></a> + <span class="pagenum">[216]</span></p> + + + + + + +<div class="boxad"> + +<p class="noindent cap">London Library, 12. St. James's Square.—</p> + +<p class="center">Patron—His Royal Highness Prince ALBERT.</p> + +<p>This Institution now offers to its members a collection of 60,000 +volumes, to which additions are constantly making, both in English and +foreign literature. A reading room is also open for the use of the +members, supplied with the best English and foreign periodicals.</p> + +<p>Terms of admission—entrance fee, 6<i>l.</i>; annual subscription, 2<i>l.</i>; or +entrance fee and life subscription, 26<i>l.</i></p> + +<p class="i5">By order of the Committee.</p> + +<p>September, 1851. <span class="i7">J. G. COCHRANE, Secretary and Librarian.</span></p> + +</div> + + + +<div class="boxad"> +<p class="center">Now ready, Price 25<i>s.</i>, Second Edition, revised and corrected. +Dedicated by Special Permission to</p> + +<p class="center1">THE (LATE) ARCHBISHOP OF CANTERBURY.</p> + +<p class="noindent cap">PSALMS AND HYMNS FOR THE SERVICE OF THE CHURCH. The words selected by +the Very Rev. H. H. MILMAN, D.D., Dean of St. Paul's. The Music arranged +for Four Voices, but applicable also to Two or One, including Chants for +the Services, Responses to the Commandments, and a Concise S<span class="smcap lowercase">YSTEM</span> of +C<span class="smcap lowercase">HANTING</span>, by J. B. SALE, Musical Instructor and Organist to Her Majesty. +4to., neat, in morocco cloth, price 25<i>s.</i> To be had of Mr. J. B. SALE, +21. Holywell Street, Millbank, Westminster, on the receipt of a Post +Office Order for that amount; and by order, of the principal Booksellers +and Music Warehouses.</p> + + +<p class="blockquot">"A great advance on the works we have hitherto had, connected with our +Church and Cathedral Service."—<i>Times.</i></p> + +<p class="blockquot">"A collection of Psalm Tunes certainly unequalled in this +country."—<i>Literary Gazette.</i></p> + +<p class="blockquot">"One of the best collections of tunes which we have yet seen. Well +merits the distinguished patronage under which it appears."—<i>Musical +World.</i></p> + +<p class="blockquot">"A collection of Psalms and Hymns, together with a system of Chanting of +a very superior character to any which has hitherto appeared."—<i>John +Bull.</i></p> + +<p class="center">London: GEORGE BELL, 186. Fleet Street.</p> + +<p class="center1">Also, lately published,</p> + +<p>J. B. SALE'S SANCTUS, COMMANDMENTS and CHANTS as performed at the Chapel +Royal St. James, price 2<i>s.</i></p> + +<p class="center">C. LONSDALE, 26. Old Bond Street.</p> + +</div> + + + + + +<div class="boxad"> + +<p class="center">Price 2<i>s.</i> 6<i>d.</i>; by Post 3<i>s.</i></p> + +<p class="noindent cap">ILLUSTRATIONS AND ENQUIRIES RELATING TO MESMERISM. Part I. By the Rev. +S. R. MAITLAND, DD. F.R.S. F.S.A. Sometime Librarian to the late +Archbishop of Canterbury, and Keeper of the MSS. at Lambeth.</p> + +<p class="blockquot">"One of the most valuable and interesting pamphlets we ever +read."—<i>Morning Herald.</i></p> + +<p class="blockquot">"This publication, which promises to be the commencement of a larger +work, will well repay serious perusal."—<i>Ir. Eccl. Journ.</i></p> + +<p class="blockquot">"A small pamphlet in which he throws a startling light on the practice +of modern Mesmerism."—<i>Nottingham Journal.</i></p> + +<p class="blockquot">"Dr. Maitland, we consider, has here brought Mesmerism to the +'touchstone of truth,' to the test of the standard of right or wrong. We +thank him for this first instalment of his inquiry, and hope that he +will not long delay the remaining portions."—<i>London Medical Gazette.</i></p> + +<p class="blockquot">"The Enquiries are extremely curious, we should indeed say important. +That relating to the Witch of Endor is one of the most successful we +ever read. We cannot enter into particulars in this brief notice; but we +would strongly recommend the pamphlet even to those who care nothing +about Mesmerism, or <i>angry</i> (for it has come to this at the last) with +the subject."—<i>Dublin Evening Post.</i></p> + +<p class="blockquot">"We recommend its general perusal as being really an endeavour, by one +whose position gives him the best facilities, to ascertain the genuine +character of Mesmerism, which is so much disputed."—<i>Woolmer's Exeter +Gazette.</i></p> + +<p class="blockquot">"Dr. Maitland has bestowed a vast deal of attention on the subject for +many years past, and the present pamphlet is in part the result of his +thoughts and inquiries. There is a good deal in it which we should have +been glad to quote ... but we content ourselves with referring our +readers to the pamphlet itself."—<i>Brit. Mag.</i></p> + +<p class="center">PIPER, BROTHERS, & CO., 23. Paternoster Row.</p> + +</div> + + +<div class="boxad"> + +<p class="center">PROFIT AND DISCOUNT TABLES,</p> + +<p class="center">In One Volume, just published, bound in roan, price 3<i>s.</i> 6<i>d.</i>, or +4<i>s.</i> free by post,</p> + +<p class="noindent cap">SHOWING the Prices at which Articles must be Sold, to obtain a Profit at +a certain Per Centage upon their invoiced Cost. And also, the Net Cost +of Articles, when Discounts are allowed on the invoiced Prices. Adapted +for the assistance of Traders in their Purchases, Sales, and taking +Stock. The Calculations are upon Prices from 1<i>d.</i> to 20<i>s.</i>, and at the +Rates from 1-½ per Cent. to 75 per Cent.</p> + +<p><i>The following Example will show the Application of the Tables.</i>—The +invoiced Price of Silk is 2<i>s.</i> 4<i>d.</i> per yard, which it is proposed to +sell at 15 per Cent. profit.</p> + +<p>Refer to the page showing that rate of per centage, find the cost price +in the first column, and, by looking to the same line of the second, the +price to be asked is shown to be 2<i>s.</i> 8-¼<i>d.</i></p> + +<p class="center">By CHARLES ODY ROOKS, A<span class="smcap lowercase">CCOUNTANT</span>.</p> + +<p class="center">London: WILLIAM TEGG & CO., 85. Queen Street, Cheapside.</p> + +</div> + + + + + +<div class="boxad"> + +<p class="center">Just published, fcap. 8vo., price 6<i>s.</i> 6<i>d.</i> in cloth,</p> + +<p class="noindent cap">THE COMPLETE ANGLER; or the Contemplative Man's Recreation, by IZAAC +WALTON and CHARLES COTTON: with a new Biographical Introduction and +Notes, and embellished with eighty-five Engravings on Copper and Wood.</p> + +<p class="center">London: HENRY KENT CAUSTON, Gracechurch Street.</p> + +</div> + + + +<div class="boxad"> + +<p class="center">Extremely Rare Tracts.</p> + +<p class="noindent cap">MR. L. A. LEWIS will SELL, at his HOUSE, 125. Fleet Street, on Friday, +26th, some BOOKS, from an old family library, including an extraordinary +assemblage of Tracts on trade, coinage, commerce, banks, public +institutions, &c., in 187 vols., collected more than one hundred years +ago, containing numerous articles of excessive rarity: Acta Eruditorum +ab anno 1682 ad 1727, 57 vols.; Valpy's edition of the Delphin and +Variorum Classics, 141 vols.; some curious Manuscripts; early printed +Books: to which is added, the Library of the late George Watkinson, +Esq., many years of the Bank of England; in which will be found a series +of Books relating to Catholics, Black Letter, Theology, &c.</p> +</div> + + +<div class="boxad"> + +<p class="center">Mr. Noble's Stereotype Plates.</p> + +<p class="noindent cap">MR. L. A. LEWIS is preparing to SELL, shortly, +at his House, 125. Fleet Street, the important assemblage of STEREOTYPE +PLATES, the property of the late Theophilus Noble, of Fleet Street and +Chancery Lane: comprising upwards of Twenty Tons weight, and including +that popular series of Novels, Tales, and Romances published under the +title of <i>Novel Newspaper</i>, in 680 sheets. Catalogues are preparing, and +will be forwarded on application on receipt of four postage stamps.</p> +</div> + + +<div class="boxad"> + +<p class="center">Literary Sale Rooms, 125. Fleet Street.</p> + +<p class="noindent cap">MR. L. A. LEWIS will have SALES by AUCTION of Libraries, small parcels +of Books, Prints, Pictures, and Miscellaneous Effects every Friday. +Property sent in on the previous Saturday will be certain to be sold (if +required) in the following week.</p> + +</div> + + + + +<div class="boxad"> + +<p class="center">2 vols., sold separately, 8<i>s.</i> each.</p> + +<p class="blockquot cap">SERMONS. By the Rev. ALFRED GATTY, </p> + +<p class="center">M.A., Vicar of Ecclesfield.</p> + +<p class="blockquot">"In the effective simplicity with which Mr. Gatty applies the incidents +and precepts of the Gospel to the every-day concerns of life, he has no +superior. His faith is that of a sincere and genuine scriptural +Churchman."—<i>Britannia.</i></p> + +<p class="blockquot">"Of all sermons I have ever seen, they are by far the best adapted to +such congregations as I have had to preach to; at any rate, in my +opinion. And as a further proof of their adaptation to the people's +wants (and indeed the best proof that could be given), I have been +requested by some of my parishioners to lend them sermons, which were +almost <i>verbatim et literatim</i> transcripts of yours. That you may judge +of the extent to which I have been indebted to you, I may mention that +out of about seventy sermons which I preached at W——, five or six were +Paley's and fifteen or sixteen yours. For my own credit's sake, I must +add, that all the rest were entirely my own."—<i>Extracted from the +letter of a stranger to the Author.</i></p> + +<p class="center">London: GEORGE BELL, 186. Fleet Street.</p> + +</div> + + +<p class="indh"> Printed by T<span class="smcap lowercase">HOMAS</span> C<span class="smcap lowercase">LARK</span> S<span class="smcap lowercase">HAW</span>, of No. 8. New Street Square, at No. + 5. New Street Square, in the Parish of St. Bride in the City of + London; and published by G<span class="smcap lowercase">EORGE</span> B<span class="smcap lowercase">ELL</span>, of No. 186. Fleet Street, + in the Parish of St. Dunstan in the West, in the City of London, + Publisher, at No. 186. Fleet Street aforesaid.—Saturday, + September 20. 1851.</p> + +<div class="tnbox"> + +<p>Transcriber's Note: Original spelling varieties have not been standardized.</p> +<p><a id="pageslist1"></a><a title="Return to top" href="#was_added1"> Pages + in "Notes and Queries", Vol. I-IV</a> </p> + +<pre> + + +---------------+-------------------+-----------+-------------+ + | Notes and Queries Vol. I. | + +---------------+-------------------+-----------+-------------+ + | Vol., No. | Date, Year | Pages | PG # xxxxx | + +---------------+-------------------+-----------+-------------+ + | Vol. I No. 1 | November 3, 1849 | 1 - 17 | PG # 8603 | + | Vol. I No. 2 | November 10, 1849 | 18 - 32 | PG # 11265 | + | Vol. I No. 3 | November 17, 1849 | 33 - 46 | PG # 11577 | + | Vol. I No. 4 | November 24, 1849 | 49 - 63 | PG # 13513 | + +---------------+-------------------+-----------+-------------+ + | Vol. I No. 5 | December 1, 1849 | 65 - 80 | PG # 11636 | + | Vol. I No. 6 | December 8, 1849 | 81 - 95 | PG # 13550 | + | Vol. I No. 7 | December 15, 1849 | 97 - 112 | PG # 11651 | + | Vol. I No. 8 | December 22, 1849 | 113 - 128 | PG # 11652 | + | Vol. I No. 9 | December 29, 1849 | 130 - 144 | PG # 13521 | + +---------------+-------------------+-----------+-------------+ + | Vol. I No. 10 | January 5, 1850 | 145 - 160 | PG # | + | Vol. I No. 11 | January 12, 1850 | 161 - 176 | PG # 11653 | + | Vol. I No. 12 | January 19, 1850 | 177 - 192 | PG # 11575 | + | Vol. I No. 13 | January 26, 1850 | 193 - 208 | PG # 11707 | + +---------------+-------------------+-----------+-------------+ + | Vol. I No. 14 | February 2, 1850 | 209 - 224 | PG # 13558 | + | Vol. I No. 15 | February 9, 1850 | 225 - 238 | PG # 11929 | + | Vol. I No. 16 | February 16, 1850 | 241 - 256 | PG # 16193 | + | Vol. I No. 17 | February 23, 1850 | 257 - 271 | PG # 12018 | + +---------------+-------------------+-----------+-------------+ + | Vol. I No. 18 | March 2, 1850 | 273 - 288 | PG # 13544 | + | Vol. I No. 19 | March 9, 1850 | 289 - 309 | PG # 13638 | + | Vol. I No. 20 | March 16, 1850 | 313 - 328 | PG # 16409 | + | Vol. I No. 21 | March 23, 1850 | 329 - 343 | PG # 11958 | + | Vol. I No. 22 | March 30, 1850 | 345 - 359 | PG # 12198 | + +---------------+-------------------+-----------+-------------+ + | Vol. I No. 23 | April 6, 1850 | 361 - 376 | PG # 12505 | + | Vol. I No. 24 | April 13, 1850 | 377 - 392 | PG # 13925 | + | Vol. I No. 25 | April 20, 1850 | 393 - 408 | PG # 13747 | + | Vol. I No. 26 | April 27, 1850 | 409 - 423 | PG # 13822 | + +---------------+-------------------+-----------+-------------+ + | Vol. I No. 27 | May 4, 1850 | 425 - 447 | PG # 13712 | + | Vol. I No. 28 | May 11, 1850 | 449 - 463 | PG # 13684 | + | Vol. I No. 29 | May 18, 1850 | 465 - 479 | PG # 15197 | + | Vol. I No. 30 | May 25, 1850 | 481 - 495 | PG # 13713 | + +---------------+-------------------+-----------+-------------+ + | Notes and Queries Vol. II. | + +----------------+--------------------+---------+-------------+ + | Vol., No. | Date, Year | Pages | PG # xxxxx | + +----------------+--------------------+---------+-------------+ + | Vol. II No. 31 | June 1, 1850 | 1- 15 | PG # 12589 | + | Vol. II No. 32 | June 8, 1850 | 17- 32 | PG # 15996 | + | Vol. II No. 33 | June 15, 1850 | 33- 48 | PG # 26121 | + | Vol. II No. 34 | June 22, 1850 | 49- 64 | PG # 22127 | + | Vol. II No. 35 | June 29, 1850 | 65- 79 | PG # 22126 | + +----------------+--------------------+---------+-------------+ + | Vol. II No. 36 | July 6, 1850 | 81- 96 | PG # 13361 | + | Vol. II No. 37 | July 13, 1850 | 97-112 | PG # 13729 | + | Vol. II No. 38 | July 20, 1850 | 113-128 | PG # 13362 | + | Vol. II No. 39 | July 27, 1850 | 129-143 | PG # 13736 | + +----------------+--------------------+---------+-------------+ + | Vol. II No. 40 | August 3, 1850 | 145-159 | PG # 13389 | + | Vol. II No. 41 | August 10, 1850 | 161-176 | PG # 13393 | + | Vol. II No. 42 | August 17, 1850 | 177-191 | PG # 13411 | + | Vol. II No. 43 | August 24, 1850 | 193-207 | PG # 13406 | + | Vol. II No. 44 | August 31, 1850 | 209-223 | PG # 13426 | + +----------------+--------------------+---------+-------------+ + | Vol. II No. 45 | September 7, 1850 | 225-240 | PG # 13427 | + | Vol. II No. 46 | September 14, 1850 | 241-256 | PG # 13462 | + | Vol. II No. 47 | September 21, 1850 | 257-272 | PG # 13936 | + | Vol. II No. 48 | September 28, 1850 | 273-288 | PG # 13463 | + +----------------+--------------------+---------+-------------+ + | Vol. II No. 49 | October 5, 1850 | 289-304 | PG # 13480 | + | Vol. II No. 50 | October 12, 1850 | 305-320 | PG # 13551 | + | Vol. II No. 51 | October 19, 1850 | 321-351 | PG # 15232 | + | Vol. II No. 52 | October 26, 1850 | 353-367 | PG # 22624 | + +----------------+--------------------+---------+-------------+ + | Vol. II No. 53 | November 2, 1850 | 369-383 | PG # 13540 | + | Vol. II No. 54 | November 9, 1850 | 385-399 | PG # 22138 | + | Vol. II No. 55 | November 16, 1850 | 401-415 | PG # 15216 | + | Vol. II No. 56 | November 23, 1850 | 417-431 | PG # 15354 | + | Vol. II No. 57 | November 30, 1850 | 433-454 | PG # 15405 | + +----------------+--------------------+---------+-------------+ + | Vol. II No. 58 | December 7, 1850 | 457-470 | PG # 21503 | + | Vol. II No. 59 | December 14, 1850 | 473-486 | PG # 15427 | + | Vol. II No. 60 | December 21, 1850 | 489-502 | PG # 24803 | + | Vol. II No. 61 | December 28, 1850 | 505-524 | PG # 16404 | + +----------------+--------------------+---------+-------------+ + | Notes and Queries Vol. III. | + +-----------------+-------------------+---------+-------------+ + | Vol., No. | Date, Year | Pages | PG # xxxxx | + +-----------------+-------------------+---------+-------------+ + | Vol. III No. 62 | January 4, 1851 | 1- 15 | PG # 15638 | + | Vol. III No. 63 | January 11, 1851 | 17- 31 | PG # 15639 | + | Vol. III No. 64 | January 18, 1851 | 33- 47 | PG # 15640 | + | Vol. III No. 65 | January 25, 1851 | 49- 78 | PG # 15641 | + +-----------------+-------------------+---------+-------------+ + | Vol. III No. 66 | February 1, 1851 | 81- 95 | PG # 22339 | + | Vol. III No. 67 | February 8, 1851 | 97-111 | PG # 22625 | + | Vol. III No. 68 | February 15, 1851 | 113-127 | PG # 22639 | + | Vol. III No. 69 | February 22, 1851 | 129-159 | PG # 23027 | + +-----------------+-------------------+---------+-------------+ + | Vol. III No. 70 | March 1, 1851 | 161-174 | PG # 23204 | + | Vol. III No. 71 | March 8, 1851 | 177-200 | PG # 23205 | + | Vol. III No. 72 | March 15, 1851 | 201-215 | PG # 23212 | + | Vol. III No. 73 | March 22, 1851 | 217-231 | PG # 23225 | + | Vol. III No. 74 | March 29, 1851 | 233-255 | PG # 23282 | + +-----------------+-------------------+---------+-------------+ + | Vol. III No. 75 | April 5, 1851 | 257-271 | PG # 23402 | + | Vol. III No. 76 | April 12, 1851 | 273-294 | PG # 26896 | + | Vol. III No. 77 | April 19, 1851 | 297-311 | PG # 26897 | + | Vol. III No. 78 | April 26, 1851 | 313-342 | PG # 26898 | + +-----------------+-------------------+---------+-------------+ + | Vol. III No. 79 | May 3, 1851 | 345-359 | PG # 26899 | + | Vol. III No. 80 | May 10, 1851 | 361-382 | PG # 32495 | + | Vol. III No. 81 | May 17, 1851 | 385-399 | PG # 29318 | + | Vol. III No. 82 | May 24, 1851 | 401-415 | PG # 28311 | + | Vol. III No. 83 | May 31, 1851 | 417-440 | PG # 36835 | + +-----------------+-------------------+---------+-------------+ + | Vol. III No. 84 | June 7, 1851 | 441-472 | PG # 37379 | + | Vol. III No. 85 | June 14, 1851 | 473-488 | PG # 37403 | + | Vol. III No. 86 | June 21, 1851 | 489-511 | PG # 37496 | + | Vol. III No. 87 | June 28, 1851 | 513-528 | PG # 37516 | + +-----------------+-------------------+---------+-------------+ + | Notes and Queries Vol. IV. | + +-----------------+--------------------+---------+------------+ + | Vol., No. | Date, Year | Pages | PG # xxxxx | + +-----------------+--------------------+---------+------------+ + | Vol. IV No. 88 | July 5, 1851 | 1- 15 | PG # 37548 | + | Vol. IV No. 89 | July 12, 1851 | 17- 31 | PG # 37568 | + | Vol. IV No. 90 | July 19, 1851 | 33- 47 | PG # 37593 | + | Vol. IV No. 91 | July 26, 1851 | 49- 79 | PG # 37778 | + +-----------------+--------------------+---------+------------+ + | Vol. IV No. 92 | August 2, 1851 | 81- 94 | PG # 38324 | + | Vol. IV No. 93 | August 9, 1851 | 97-112 | PG # 38337 | + | Vol. IV No. 94 | August 16, 1851 | 113-127 | PG # 38350 | + | Vol. IV No. 95 | August 23, 1851 | 129-144 | PG # 38386 | + | Vol. IV No. 96 | August 30, 1851 | 145-167 | PG # 38405 | + +-----------------+--------------------+---------+------------+ + | Vol. IV No. 97 | Sept. 6, 1851 | 169-183 | PG # 38433 | + | Vol. IV No. 98 | Sept. 13, 1851 | 185-200 | PG # 38491 | + +-----------------+--------------------+---------+------------+ + | Vol I. Index. [Nov. 1849-May 1850] | PG # 13536 | + | INDEX TO THE SECOND VOLUME. MAY-DEC., 1850 | PG # 13571 | + | INDEX TO THE THIRD VOLUME. JAN.-JUNE, 1851 | PG # 26770 | + +------------------------------------------------+------------+ + + +</pre> + </div> + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Notes and Queries, Vol. IV, Number 99, +September 20, 1851, by Various + +*** END OF THIS PROJECT GUTENBERG EBOOK NOTES AND QUERIES, SEPT 20, 1851 *** + +***** This file should be named 38574-h.htm or 38574-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/8/5/7/38574/ + +Produced by Charlene Taylor, Jonathan Ingram and the Online +Distributed Proofreading Team at https://www.pgdp.net (This +file was produced from images generously made available +by The Internet Archive/American Libraries.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + + +</pre> + + </body> + </html> diff --git a/38574-h/images/cover.jpg b/38574-h/images/cover.jpg Binary files differnew file mode 100644 index 0000000..08f26fc --- /dev/null +++ b/38574-h/images/cover.jpg diff --git a/38574-h/images/image01.jpg b/38574-h/images/image01.jpg Binary files differnew file mode 100644 index 0000000..16b9e91 --- /dev/null +++ b/38574-h/images/image01.jpg |
