cially the angle at the top of the W-loop, the headloop of the first 1, the slant of the first 1-stem, the a, the minims and terminal flourish of the m, etc., but it is sufficiently faithful to its original to show that it was traced from it. No. 7.—This is "T1" (enlarged x 2) as depicted by Chalmers in 1796. This "very perfect facsimile" (as Chalmers called it) differs from the original and from the Malone-Steevens facsimile in a few details, especially as to the first 1, the m-minims and flourish, the protruding chin on the S, the r, and the final e. On the whole, Chalmers's is the more nearly faithful of the two drawings. No. 8. This is "T2" (enlarged x 2) and but for the heavy upstroke of the p an almost perfect facsimile of the original. No. 9.-This is "T3" (enlarged x 2) and but for the slight thickening of Shakspere's fine ascending lines and the omission of the thickening or doubling of the lowest point of the initial m-stroke as fine a facsimile as can be desired. That the words "By me William were written by William Shakspere himself is proved beyond the possibility of doubt by the fact that the writing agrees with that of the surname and the other signatures in rhythm, size, shading, pen pressure, alignment, slant, spacing, proportions, pen position, etc. Cf. Osborn's Questioned Documents for an explanation of these terms. 66 No. 10. This is a slightly enlarged facsimile of the writing of a cultured person who suffered for years from severe writer's cramp. Lack of pen control is evident throughout. Note especially the conversion of the u into an m in " Quaker," the difficulty of writing in in against," the cramped ess " in "address," the huddled " e " in friends," the incomplete "y " in "yearly," the omission of an "e" in "Paper," the misspelling negers" (not due to ignorance), the failure to cross the "t" in "to" (1. 6), the almost unrecognizable "their" and the misplaced t-crossing, the distorted "have to" at the end of 1. 6, etc. Note also the comparative ease with which this man made his curved letters, e. g., the "Q," the "R," the "B," the "f" (in "freedom,” 1. 6). No. 11. This is a facsimile (slightly reduced) of a part of the third page (folio 9a) of the Addition. It reads: amd to add ampler matie to this he [god] hath not [le] only lent the king his figure his throne [hisyour] sword, but gyven him his owne name rysing gainst him that god himsealf enstalls [105] but ryse gainst god, what do you to yor sowles in doing this o desperat [ar] as you are wash your foule mynds wt teares and those same hands that you lyke rebells lyft against the peace [xxxxx] [110] lift vp for peace, and your vnreuerent knees [that] make them your feet to kneele to be forgyven [is safer warrs, then euer you can make] [in in to yor obedienc] [whose discipline is ryot], [why] [euen yor warre(s)] [hurly] TELL ME BUT THIS [cannot proceed but by obedienc] what rebell captaine as mutynes ar incident, by his name [115] can still the rout who will obay [th] a traytor or howe can well that proclamation somde to quallyfy a rebell, youle put downe atraingers [120] No. 12.-Part (11. 12-19) of a letter by Thomas Cranmer to Thomas Crumwell (B. M., Cotton MS., Cleop., E. V. fo. 329) showing numerous horizontal a-spurs. It reads: "that it shall well appere herafter what high and accep//table seruice you haue don vnto godde and the king, whiche / shall somoche redown to your honor. that, besides goddes rewarde/ you shall opteyn perpetuall memorye for the same wtin this/Realme / And as for me, you may recken me your bondeman / for the same, and I dare be bold to say, so may ye do my Lorde of wurceiter/Thus my Lorde. right hartely faire you well / att/fforde the xiii day of auguste/." There is an interesting o-spur in the word "so" on line 3. Note also the two kinds of h in the word "high (1. 1), two kinds of r in "herafter" (1. 1), the e's without the ascending stroke at the right in " appere" (1. 1), the ser-symbol in seruice (1. 2), the final es symbol in goddes (1. 3), the persymbol in "perpetuall" (1. 4), and the dot in the capital T in "Thus " (1. 7). 66 No. 13. This is the upper part of page 3 of the disputed Revels Accounts of 1611-12. It is of interest as showing characteristically indented l's (e. g., in the words "ffolloweth" and "Allso" in line 2) as well as small p's resembling Shakspere's letter in "British Museum " (e. g., in the word "Cumpaney" on line 1). 66 No. 14. This is part of the left margin of folio 8a of the Addition. It shows the names of the dramatis personae written by "D" (?Shakspere) and altered by "C" (the stage director?). Thus "other" is crossed out and "GEO BETT" substituted in line 1. Linco [In]," the main personage's name, is unchanged; in line 3 "other" is changed to "BETTS CLOW 66 (i. e., Betts the Clown); in line 5 oth [er]" is changed to "WILLIAN," and in line 7 "CLOWN. BETTS is substituted for o[ther]." Then follows the stage direction "ENTER SERIANT" in C's hand which Sir Edward Thompson mistook for D's and on the basis of which he said that D's and Shakspere's Italian s are identical. No. 15. This is a fragment (the upper left-hand corner) of folio 8a of the Addition. It shows D's capital B (in the word "Bushell" in the 3d line), wholly unlike Shakspere's letter in “T3.” No. 16. This is part of folio 8a of the Addition. It shows three fine examples of D's capital W in the words "Wisdome" (lines 3 and 5) and 66 Weele (one with a conspicuous dot in the final loop), his capital B (in the word "But" at the beginning of the fifth line), his ha ligatures, initial upstrokes, characteristic h's, mesial s's, small p's, unindented l's, etc. No. 17.-This is a rather poor facsimile of a part of folio 13 of the play of "Sir Thomas Moore" and is in the handwriting of "C," in all probability the stage director of the company that was to produce the play. It reads: pardon thou reverent germaine I have mixt of thy most worthy self for know Erasmus ET TU ERASMUS AN When that forsaks me I may [have] my grave Erasmus. Yor honors mery humor is best phisick vnto yor able Boddy. for we learne wher mellancholly choaks the passages of bloud and breth the errected spirit still lengthens or dayes wch sportfull exercise studie should be the saddest time of lif the rest aspoort exempt from thought of strife Moore. Erasmus preacheth gospell against phisicke Note his Italian long s, his Italian r, his per symbol, his B, his W, etc. Simpson thought it identical with Shakspere's handwriting and that the matter was wholly worthy of the great Stratfordian. 66 No. 18. This is a facsimile of the first three lines of a page of accounts (dated 1551) belonging to Mr. Albert S. Osborn. It is a beautiful specimen of mid-sixteenth century calligraphy. Note the fantastic treatment of the 's throughout, the typical old English k in the words "Pickrelle" (1. 1) and "blacke" (1. 3), resembling the k in T2," the e's without the ascending curve. The spelling octobar in 1. 1 will be of interest to those acquainted with the controversy about the 1604-5 and 1611-12 Revels Accounts. Other points of interest are the remarkable 8 in Symon (1. 1), the dot in the P of "Pickrelle " (1. 1), the s-shaped 5's, the indented t in "bowlton" (1. 2), the final es-symbol in " prselles" (1. 2) and "lukes" (1. 3), the unusual penlift after mesial e, etc. SHAKESPEAREAN AND OTHER FEASTS BY OLIVER FARRAR EMERSON In repeating recently Shakespeare's praise of sleep (Macbeth II, ii, 36-40) I paused, not on the expression "the raveled sleave of care" which has received almost a surfeit of explanation, but on following clause, "great nature's second course." I asked myself, with more of curiosity than ever before, why second course? What was the ordinary Elizabethan meal which made this specific reference so appropriate that Shakespeare did not hesitate to use it in this famous passage? The eighteenth century Shakespearean, Theobald, was sufficiently puzzled by the expression "second course" in this passage to propose source for course, though as he later withdrew the emendation we must not make too much of it. A more modern critic made another proposal: He objected to considering "that course belongs to the metaphor of 'life's feast,'" on the ground that "Shakespeare's word for a course in a meal was service." He therefore concludes that "Nature (i. e. life, existence) is here compared to a race with two courses or rounds, which are respectively the waking state and sleep." But the point of the comment vanishes when we find that, whether course is here used for part of a meal or not, service is used by Shakespeare but a single time in that sense, as in Hamlet IV, iii, 25 ff. It is the speech of Hamlet on poor Polonius: ... Not where he eats, but where he is eaten. Your fat king and your lean beggar is but variable service, two dishes, but to one table. On the other hand, second course is used twice elsewhere in Shakespeare (Henry V, IV, iii, 106, and Coriolanus I, v, 17), but in both cases for part of a battle, as a second course of fight" in CoriolaIf therefore, we were to reason as Mr. Grey has done too carelessly, we should assume that "great nature's second course" meant the second round of a fight. nus. 1 Arthur Grey in Notes and Queries, Ser. VII, Vol. vi, p. 343. The article, cited by Schmidt in the Supplement to his invaluable Lexicon, is not included in the index to the volume or that to the series, nor does Schmidt give the page reference. Most school editions of the play, English and American, do not comment on this Macbeth use of course. Richard Jones (Appleton ed., 1898) explains second course as " the chief course at a feast.” and Schelling (Holt. ed., 1911) makes the somewhat more definite statement: "In the second course of Elizabethan meals the most nourishing dishes were served." Neither commentator cites any authority for his statement, and therefore does little more than interpret the expression from the context, especially the "chief nourisher of life's feast" in the next line. The Furness Variorum Macbeth quotes the Ms. notes of Professor Allen, that is George Allen, Professor of Latin in the University of Pennsylvania from 1845 to 1876, and an active member of the Shakespeare Society of Philadelphia. Professor Allen's note is to the effect, See that Pudding was the first course, and that the second course (then what the first course is now, Roast Beef etc.) was the chief nourisher. Butler, Hudibras Part I, canto ii: But Mars, who still protects the stout, In pudding-time came to his aid! Cited by Johnson (Dict.) with the explanation: the time of dinner; the time at which pudding, anciently the first dish, is set upon the table.'' A casual interest in this note of Professor Allen might lead one to wonder what relation Mars had to pudding or dinner-time, when he should have been helping, and in fact did help Hudibras in the fight. Johnson's Dictionary makes all clear, for Johnson does not cite Hudibras to illustrate dining, or meal-time at all. In defining pudding-time, which he was the first to cite and explain, Johnson gave two meanings: 1. The time of dinner; the time at which pudding, anciently the first dish, is set upon the table. It is in explanation of this second meaning only that Johnson cites the Hudibras lines, Mars having assisted the hard-pressed Knight at a critical time in his contest. The quotation from Butler has no place in an explanation of the Macbeth passage. The first part of Johnson's definition is more important. Pudding, in Johnson's time and earlier, meant a meat concoction The Hudibras lines are 864-5 of Part I, canto ii. |