Notes And Queries Number 237 May 13 1854 A Medium Of Inter Comm
Chapter 1
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NOTES AND QUERIES:
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CONTENTS.
NOTES:-- Page
"Shakspeare's Rime which he made at the Mytre," by Dr. E. F. Rimbault 439
Rous, the Sottish Psalmist, Provost of Eton College: and his Will, by the Rev. H. T. Ellacombe 440
Original English Royal Letters to the Grand Masters of Malta, by William Winthrop 442
Disease among Cattle, by Thos. Nimmo 445
Popiana, by Harry Leroy Temple 445
Hampshire Folk Lore, by Eustace W. Jacob 446
The most curious Book in the World 446
Minor Notes:--Baptism, Marriage, and Crowning of Geo. III.--Copernicus--First Instance of Bribery amongst Members of Parliament--Richard Brinsley Sheridan--Publican's Invitation--Bishop Burnet again!--Old Custom preserved in Warwickshire--English Diplomacy v. Russian 447
QUERIES:--
Ancient Tenure of Lands, by A. J. Dunkin 448
Owen Rowe the Regicide 449
Writings of the Martyr Bradford, by the Rev. A. Townsend 449
MINOR QUERIES:--Courtney Family--"The Shipwrecked Lovers"-- Sir John Bingham--Proclamation for making Mustard--Judges practising at Bar--Celebrated Wagers--"Pay me tribute, or else----"--"A regular Turk"--Benj. Rush--Per Centum Sign-- Burial Service Tradition--Jean Bart's Descent on Newcastle-- Madame de Staël--Honoria, Daughter of Lord Denny--Hospital of John of Jerusalem--Heiress of Haddon Hall--Monteith-- Vandyking--Hiel the Bethelite--Earl of Glencairn--Willow Bark in Ague--"Perturbabantur," &c. 450
MINOR QUERIES WITH ANSWERS:--Seamen's Tickets--Bruce, Robert--Coronation Custom--William Warner--"Isle of Beauty"--Edmund Lodge--King John 452
REPLIES:--
Has Execution by Hanging been survived? by William Bates 453
Coleridge's Christabel, by C. Mansfield Ingleby 455
General Whitelocke 455
PHOTOGRAPHIC CORRESPONDENCE:--Gravelly Wax Negatives-- Photographic Experience 456
REPLIES TO MINOR QUERIES:--Turkish Language--Dr. Edward Daniel Clarke's Charts of the Black Sea--Aristotle on living Law--Christ's or Cris Cross Row--Titles to the Psalms in the Syriac Version--"Old Rowley"--Wooden Effigies--Abbott Families 456
MISCELLANEOUS:--
Notes on Books, &c. 458
Books and Odd Volumes Wanted 458
Notices to Correspondents 459
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_LONDON, SATURDAY, MAY 13, 1854._
Notes.
"SHAKSPEARE'S RIME WHICH HE MADE AT THE MYTRE."
In the third volume of Mr. Collier's valuable _History of Dramatic Poetry_ (p. 275.) is the following passage, which forms part of a note:
"Mr. Thorpe, the enterprising bookseller of Bedford Street, is in possession of a MS. full of songs and poems, in the handwriting of a person of the name of Richard Jackson, all copied prior to the year 1631, and including many unpublished pieces, by a variety of celebrated poets. One of the most curious is a song in five seven-line stanzas, thus headed 'Shakspeare's rime, which he made at the Mytre in Fleete Streete.' It begins 'From the rich Lavinian shore;' and some few of the lines were published by Playford, and set as a catch."
In Mr. Thoms' _Anecdotes and Traditions_ (published by the Camden Society) is a story of the celebrated Dr. John Wilson, to which the editor has appended an interesting note, adding:
"Wilson was the composer of a glee for three voices, published in Playford's _Musical Companion_, where the words are attributed to Shakspeare; and the supposition that they were really written by him having been converted into a certainty, by their appearing with Shakspeare's name to them in the MS. Collection of Poetry, copied prior to 1631 by Richard Jackson," &c.
Mr. Thoms then prints the "rime," not inappropriately calling it "A Song for Autolycus," with this remark:
"My late respected friend Mr. Douce once told me, that some musical friend at Chichester, I think the organist, possessed a copy of this song, with an additional verse."
Mr. Thoms' version of "Shakspeare's Rime" was inserted (probably by our worthy Editor himself?) in the first volume of "N. & Q." (p. 23.) with a view of obtaining the additional stanza; a desideratum which I am now enabled to supply. The following copy has _two_ additional stanzas, and is transcribed from a MS. Collection of Songs, with the music, written in the early part of the reign of James I. The MS. was formerly in the possession of Mr. J. S. Smith, the learned editor of _Musica Antiqua_.
I.
"From the fair Lavinian shore, I your markets come to store; Marvel not, I thus far dwell, And hither bring my wares to sell; Such is the sacred hunger of gold. Then come to my pack, While I cry, What d'ye lack, What d'ye buy? For here it is to be sold.
II.
"I have beauty, honour, grace, Virtue, favour, time and space, And what else thou wouldst request, E'en the thing thou likest best; First, let me have but a touch of thy gold, Then come too lad, Thou shalt have What thy dad Never gave; For here it is to be sold.
III.
"Though thy gentry be but young, As the flow'r that this day sprung, And thy father thee before, Never arms nor scutcheon bore; First let me have but a catch of thy gold, Then, though thou be an ass, By this light Thou shalt pass For a knight; For here it is to be sold.
IV.
"Thou whose obscure birth so base, Ranks among the ignoble race, And desireth that thy name, Unto honour should obtain; First let me have but a catch of thy gold, Then, though thou be an ass, By this light, Thou shalt pass For a knight; For here it is to be sold.
V.
"Madam, come see what you lack? Here's complexion in my pack; White and red you may have in this place, To hide an old ill-wrinkled face: First, let me have but a catch of thy gold, Then thou shalt seem, Like a wench of fifteen, Although you be threescore and ten years old."
That this song enjoyed extensive popularity in the latter half of the seventeenth century, is evinced by the number of printed copies. It is found in Playford's _Select Ayres and Dialogues_, 1659; in Dr. Wilson's _Cheerfull Ayres and Ballads_, 1660; in Playford's _Catch that Catch Can_, 1667; and in many subsequent collections of a similar kind. But in none of these works is the name of the writer of the words given; and all the copies are deficient of the _third_ and _fourth_ stanzas. The point of the satire conveyed in these stanzas was lost after the reign of James I., which may account for their omission.
"Shakspeare's rime," being associated with Wilson's music, is of some importance towards settling the point of authorship. In 1846 I printed a little pamphlet with the following title:
"Who was _Jack Wilson_, the Singer of Shakspeare's Stage? An Attempt to prove the Identity of this {440} Person with John Wilson, Doctor of Musick, in the University of Oxford, A.D. 1644."
It would be out of place here to dwell upon this publication, suffice it to say, that all the information I have since collected, tends to confirm the hypothesis advanced. One extract from this _brochure_ will show the connexion that existed between Shakspeare and Wilson:
"Wilson was the composer of four other Shakspearian lyrics, a fact unknown to Mr. Collier, when he wrote the article in the _Shakspeare Papers_: 'Where the bee sucks,' 'Full fathom five,' 'Lawn as white as driven snow,' and 'From the fair Lavinian shore.' They are all printed in the author's _Cheerfull Ayres or Ballads_, Oxford, 1660. We have now evidence from this work, that Wilson was the _original_ composer of the music to _one_ of Shakspeare's plays. He says in his preface, 'some of these ayres were _originally_ composed by those whose names are affixed to them, but are here placed as being _new set_ by the author of the rest. The two songs, 'Where the bee sucks,' and 'Full fathom five,' have appended to them the name of 'R. Johnson,' who, upon this evidence, we may undoubtedly conclude was the _original_ composer of the music in the play of the _Tempest_. The song 'Lawn as white as driven snow,' from the _Winter's Tale_, has the name of 'John Wilson' attached to it, from which it is equally certain that he was its _original_ composer. In my own mind, the circumstances connected with the Shakspearian lyrics in this book are almost conclusive as to the identity of John Wilson the _composer_ with John Wilson the _singer_. Unless the composer had been intimately acquainted with the theatre of Shakspeare's day, it is not likely that he would have remembered, so long after, the name of one of its composers. Nor is it likely, being so well acquainted with the _original_ composers of the Shakspearian drama, and so anxious as he appears to have been to do justice to their memory, that he would have omitted informing us, who was the _original_ composer of the song in the _Winter's Tale_, had it been any other than himself. The _Winter's Tale_ was not produced before 1610 or 1611, at which period Wilson was sixteen or seventeen years old, an age quite ripe enough for the production of the song in question."
A reviewer of my little publication in the _Athenæum_ (Nov. 8, 1846) makes the following remark:
"Let us observe, in conclusion, that Dr. Rimbault is better read in Jack Wilson than Ben Jonson, or we should never have seen Mr. Shakspeare's 'Rime' at the 'Mitre,' in Fleet Street, seriously referred to as a genuine composition. It is a mere clumsy adaptation, from Ben's interesting epigram 'Inviting a Friend to Supper.'"