wende (inf.) 2815/6, 35002, bende (inf.): schende (inf.) 3223/4, hende (adj.) : schende (inf.) 3616/7, kende (adj.): hende (sb.) 3789, sende (subj.): wende (inf.) 3951, ende (sb.): schende (inf.) 44968, wende (subj.): sende (inf.) 5292/4, lende (subj.): ende (sb.) 5772/4, sende (inf.): ende (sb.) 5376/8. III. I. torente (p. p.): schente (p. p.) 898/9, ywent (p. p.): yschent (p. p.) 2373/4, toflent (p. p.): torent (p. p.) 3069: 70, hente (p. p.): brente (p. p.) 3301/2, yslente (p. p.): schente (p. p.) 3313/4, ysent (p. p.): went (p. p.) 3632/4, brent (p. p.): schent (p. p.) 5091, bent (p. p.): ybrent (p. p.) 5881. 2. present (sb.): brent (p. p.) 370/1, sent (p. p.): pantent (adv.) 1516/7, entent (sb.): ysent (p. p.) 1650/1, yschent (p. p.): stent (3rd p. pres.) 1652/3, 2923/4, yschent (p. p.): sent (prt.) 1870/1, entent (sb.): offent (p. p.) 1916/7, assent (p. p.): iuggyment (sb.) 1960/1, ysent (p. p.): present (sb.) 2697/8, entent (sb.): yment (p. p.) 2921/2, went (prt.): ment (p. p.) 2990/1, stent (3rd p. pres. sg.): hent (p. p.) 2993/4, stent (3rd p. pres. sing.): schent (p. p.) 3167/8, sent (p. p.): torment (sb.) 4005, forbrent (p. p.): went (prt.) 5428/30. 3. sente (prt.): entente (sb.) 390/1, hente (prt.): dente (sb.) 616/7, mente (prt.): dente (sb.) 736/7, wente (prt.): dente (sb.) 990/1, 3101/2, wente (prt.): (a)stente (prt.) 1108/9, 3151/2, 3748/50, 4396/8, torente (prt.): outwende (prt.) 1598/9, assent (sb.): went (prt.) 1788/9, turment (sb.): myswent (prt.) 1962/3, hente (prt.): wente (prt.) 2533/4, wente (prt.): bente (prt.) 2775/6, sente (prt.): glente (inf.) 2997/8, slente (inf.) : hente (prt.) 2999/3000, awente (prt.): astente (prt.) 3009/10, gente (adj.): bente (prt.) 3153/4, understent (prt.): dent (sb.) 3701, rente (sb.): hente (prt.) 4109, went (prt.): comaundyment (sb.) 4137, toflente (prt.): hente (prt.) 4940/42, glente (prt.): wente (prt.) 5588/90, dent (sb.): torent (prt.) 5618. 4. verament (adv.): stent (3rd p. pres. sg.) 2034/5, assent (sb.): stent (3rd p. pres. sing.) 2375/6, omnipotent (adj.): present (sb.) 4104/6, comaundyment (sb.): traysement (sb.) 4752/4, comaundyment (sb.): entent (sb.) 4912/4. As group II never rhymes with e, we can pretty confidently establish the rule found by Prof. Bülbring also for this poem, though the rhymes of group I are not numerous enough to make us feel quite certain about it. D. The »Romance of Sir Otuel«, re-edited by Sidney J. H. Herrtage, has the following rhymes. I. No instances. II. wenden (inf.) schenden (inf.) 261/2, end (sb.): lende (sb.) 539/40, wende (inf.): hende (adj.) 1045/6, 1381/2. : III. I. wente (prt.): hente (prt.) 27/8, wente (prt.): torente (prt.) 551/2, wente (prt.): sente (prt.) 1141/2, went (p. p.): schent (p. p.) 1545/6. 2. sent (p. p.): comaundement (sb.) 113/4, (y)ment (p. p.): dent (sb. 137/8, 477/8, 485/6, 547/8, 1325/6, acente (inf.): wente (prt.) 527/8, Belesent (sb.): went (p. p.) 589/90. 3. Seven rhymes like: present (sb.) : comaundement (sb.). No safe conclusion is possible. E. The »Romance of Duke Rowland«, edited by Sidney J. Herrtage: I. No rhymes. II. hende (adj.): wende (inf.) 961/2. III. went (p. p.): hent (p. p.) 1141/2, hent (p. p.): sent (p. p.) 1489/90, sent (p. p.): schent (p. p.) 1575/8, hent (p. p.): Belesent (sb.) 733/4, present (sb.); lent (p. p.) 1492/3, went (prt.): hent (prt.) 1191/4. No conclusion is possible. F. The »Romance of The Sowdone of Babylone«, re-edited by Emil Hausknecht: I. No rhymes. II. ende (inf.): ende (sb.) 720/2, ende (sb.): wende (inf.) 891/3, 2557/9, sende (inf.) : ende (sb.) 1820/2, frende (sb.): wende (inf.) 3212/4, sende (inf.): mynde (sb.) 3243/5. But defende (inf.): sende (inf.) 1568/70. III. I. brente (p. p.): shente (p. p.) 21/3, brente (p. p.): sente (p. p.) 715/7, spente (p. p.): ischente (p. p.) 2284/6, tente (p. p.): wente (p. p.) 2796/8. 2. wente (prt.): schente (p. p.) 2371/3, 2551/3, repente (inf.): schente (p. p.) 2784/6, wente (prt.): entente (inf.) 548/50, wente (prt.): sente (prt.) 1552/4, assente (sb.): avente (inf.) 1234/5, tente (sb.): hente (subj.) 1368/70, wente (prt.) : entent (sb.) 1959/61. 3. commaundement (sb.): entente (sb.) 9/11 and three more such rhymes. No safe conclusion is possible. Because of the substitution of the later forms of the preterites and past participles in ent (sent, went, etc.), also the following poems which I have examined, furnish no evidence with regard to the vowel of ende, hende, sende pres.), etc., viz. Havelok (edited by Skeat), Arthour and Merlin (edited by Kölbing), Ipomedon (edited by Kölbing). GRONINGEN, November 1894. R. R. de Jong. LANGLAND'S FIGUR DES »PLOWMAN« IN DER NEUESTEN ENGLISCHEN LITTERATUR. Es ist bekannt, wie populär das gedicht von William Langland: »The Vision concerning Piers the Plowman« nicht nur zu seiner zeit war, sondern auch viel später, bis auf die reform des XVI. jahrhunderts, geblieben ist. Der pflüger wurde zum helden vieler satirischer und politischer gedichte gemacht1), wenngleich einige seiner eigenthümlichen züge in verschiedener weise abgeändert wurden. So z. b. wird der mystische held des Langland'schen gedichtes zu einer recht realistischen figur im »Creed«, wo er als der vertreter der rechte der arbeiter erscheint, der seine selbständigkeit gegen die missbräuche der herrschenden classen behauptet, eine art sansculotte am ende des XIV. jahrhunderts. Er behielt jedoch immer den gesunden sinn, die praktische lebenskenntniss, welche den kern seines ursprünglichen charakters bildet. Aber die gestalt des pflügers lebt noch in der erinnerung moderner englischer schriftsteller fort, wenn auch gewissermaassen nur als eine abstracte idee. i) Nachahmungen desselben sind: »Pierce the Plowman's Crede«; »The Prayer and Complaynte of the Plowman unto Christe«; » Pyers Plowman's Exhortation«; »A lytell geste howe the Plowman lerned his Pater-Noster« u. a. Ich führe dafür folgende zwei belege aus den schriften von Macaulay und Tennyson an: >>To govern Britain by the sword! So wild a thought has never, I venture to say, occurred to any public man of any party: and, if any man were frantic enough to make the attempt, he would find before three days had expired, that there is no better sword than that which is fashioned out of a ploughshare,« Macaulay, Speeches. »Russia bursts our Indian barrier. Shall we fight her? Shall we yield? Pause, before you sound the trumpet, hear the voices from the field. Those three hundred millions under our Imperial sceptre now, Shall we hold them? shall we loose them? take the suffrage of the plow. MAILAND, Januar 1895. P. Bellezza. CALIBAN. I«, In Tijdschrift voor Nederlandsche Taal- en Letterkunde XIV, Dr. A. Kluyver gives a very plausible derivation of the hitherto mysterious name of Caliban. As it is to be feared that comparatively few students of English read Dutch, and still fewer read the Tijdschrift, I have with the author's kind permission translated his interesting article into English. The article is entitled Kalis and Caliban. As the first part is of interest only to students of Dutch, it may suffice to say that Dr. Kluyver after trying to prove the derivation of Dutch Kalis (tramp; spendthrift, rioter; a poor fellow) from Gipsy »kalo« = 1. black (skr. kâla), 2. substantively used Hungary, Bohemia, Germany and Spain, continues as follows: Gipsy in Afraid lest my fancy should lead me too far, I dare mention but one other conjecture, regarding the name »Caliban«. » Caliban«, a savage and deformed slave, as he is called in the list of dramatis personæ, is the son of a witch and the devil. He is living in the island which has also harboured Prospero, the banished Duke of Milan. Prospero disposes of supernatural powers, and is served by an airy spirit: Ariel, who performs all sorts of miracles for him. Ariel and Caliban are of an exactly opposite nature. In Ariel there is nothing material, whereas Caliban is almost entirely matter without mind. He bears some resemblance to a human being, but merely as far as the animal part of man is concerned. Prospero has tried to teach him something, but he is intractable, insusceptible of noble emotions, a drunkard, coward and wanton monster. caliban has become an appellative for a brutal man, and in France everybody knows the person of Caliban, from his occurring in two dramatic works by Renan, called »Caliban« and »L'Eau de Jouvence« 1). In English 1) In French also, the name is used almost as a common noun. See f. i. Faguet in Revue Bleue of March II, 1893. In speaking of Taine's pessimism, he says that, to the latter, man was", >>une espèce de monstre étrange, de Caliban inquiétant«. Where Shakespeare got the name from is not known. According to Gervinus Caliban is an arbitrary transposition of Cannibal1). Murray in his N. E. D. says: "app. a variant of Cannibal, or perhaps actually a form of Carib. It does not appear, however, where Shakespeare found the form.<< In his detailed article on Cannibal, the word occurs only in this form, taken from the Spanish. Hence it is improbable that Shakespeare should have known » Caliban as an English name for a cannibal. But is Gervinus' supposition more probable? His summary judgment is too positive in my opinion, for there is no reason why Shakespeare should have thought of cannibals in casting the figure of Caliban. He frequently speaks of the anthropophagi, and the chief peculiarity for which they were notorious was their liking to human flesh 2). »Caliban« bears little resemblance to such people. Not only he does not eat men, but he is very much afraid of human beings, as he is well aware that the mind of man is too powerful for him; in fact he submits in slavery to a drunken butler. Moreover we know accounts of travels which Shakespeare may have used for his play. Delius has given passages from them in his Introduction to the Tempest, and no mention is made in these of cannibals. Where one conjecture is so far from being proved, we hope it will not be considered presumption to propose another. as he Did Shakespeare know the Gipsies? Most certainly by name, frequently mentions them. Nor need this excite our astonishment, for ever since about 1500 Gipsies had resided in England 3), and in Scotland even before that date. Now it would be far from unaccountable, if Shakespeare, during his long residence in London among actors and all sorts of Bohemians, had picked up a few Gipsy words which had passed into the cant of the day. The Tempest dates from 1610—11, a date at which the Gipsy language had been spoken in England for over a century. = A very common suffix in that language is -ban, or -ben (also -pen), which has a sense very much like that of German -heit, or -keit. Instances are: laczo = good, laczipen goodness (Pott, 2. 329)4); nasvalo sick, nassickness (3. 323); baru great, baruben greatness (2. 414); theft (2. 200). Many derivations of this nature may be found in the grammars. Occasionally the meaning is more concrete, f. i.: valipen = czor a thief, czoriben = = = hell (2. 407); parno = = beng devil, bengipen white, parrnepen = lime, ivory (2. 359). In the same way Kaliban, -ben, or -pen would be regularly formed from Kalo = black. In the lists of English Gipsy words, consulted by Pott it occurs under the form »cauliban, where au is clearly meant as a transcription of a as in all. This word, properly blackness, is explained as meaning: black, black colour (2. 107); but as similarly the derivation of parno means white matter, viz. lime, ivory, so also caliban was presumably used to indicate black matter«. Most certainly »black«, given as the first translation of caliban, must be taken as a noun, for caliban can never be an adjective. In = 1) Shakespeare IV, 221. >> Caliban, dessen name nur ein anagramm von kanibale ist.<< 2) Cf. Othello I, 3: »the Cannibals that each other eat, the Anthropophagi. 3) See Gipsy in Enc. Britt. 4) Pott, Die zigeuner in Europa und Asien. my opinion the sense of Caliban may have been, besides blackness, also soot, mud, filth etc.; this supposition will not be considered too vague 1). Let us now suppose that Sh. had heard the word somewhere or other in this sense. Is not it very likely that he should have used it to indicate a being that is hardly animated, or as Gervinus expresses it: »Schildkröte im kothe, ... ein embryonisches wesen, dem gleichsam die erdige entstehung aus dem schooss einer noch unfertigen natur anklebt«. Prospero does not consider Caliban as a person, for he addresses him as »earth« and »filth«, i. e. mud, dirt. Renan acts in the same way, for in his drama of Caliban, Suite de La Tempête, he makes Prospero say of his slave: ordure, il n'était sensible qu'aux coups. Les fatigues que je me suis données pour faire quelque chose avec de la boue, pour mettre la raison dans une lourde fange, il ne m'en sait aucun gré2).« The words in italics, like filth, mean what the Gipsy word caliban may have expressed, Students of Shakespeare and of the Gipsy dialect may judge whether my conjecture is worth any further attention. ALMELOO, März 1895. Adapted from the Dutch of Dr. A. Kluyver, by SHAKESPEARE'S MACBETH UND KYD'S SPANISCHE TRAGÖDIE. Von den reiferen dramen Shakespeare's ist der Macbeth (vom Hamlet natürlich abgesehen) das einzige, bei welchem man eine beeinflussung durch die populäre rachetragödie Thomas Kyd's wahrnehmen kann. Merkwürdiger weise ist von den litterarhistorikern diese einwirkung meines wissens noch nicht beachtet worden, obwohl sie ziemlich klar zu tage liegt. Von einer eigentlichen nachahmung ist natürlich nicht die rede, wohl aber lässt sich deutlich beobachten, dass Shakespeare sich hier durch mehrfache reminiscenzen an die Spanische tragödie leiten liess; ja, man kann sogar behaupten, dass fast in allen fällen, wo die phantasie des grossen dichters unabhängig von der erzählung Holinshed's und scheinbar frei sich erging, sie den spuren Kyd's folgte. Gleich die ersten scenen sind ähnlich angelegt. Wie die Sp. Tr. wird auch Macbeth durch eine geistererscheinung eingeleitet freilich das letztere drama sehr viel wirksamer. Dann folgt übereinstimmend ein schlachtbericht, den sich ein könig von einem krieger (in der Sp. Tr. von einem general) erstatten lässt. Sogar einzelne wendungen klingen hier an, Sp. Tr. (DodsleyHazlitt) V, 13): In all this turmoil, three long hours and more Till Don Andrea made so great a breach 1) The Turkish Gipsies have not ban but bé for suffix in such words; hence from lolored, lolibé, translated: rougeur, fard, rouge by Paspati, So this word too is used as the name of a material. 2) Drames philosophiques, p. 85. |