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That for to hunten is so desirous, ACCORDING to Steevens “ the sweet honey And namely at the grete hart in May, suckle” is an explanation of what the poet
That in his bed ther daweth him no day
That he n'is clad, and redy for to ride means by " the woodbine,” which name was
With hunte and horne, and houndes him beside. sometimes applied to the ivy. “The honey For in his bunting hath he swiche delite, suckle” doth entwist—"the female ivy" enrings
That it is all his joye and appetite - "the barky fingers of the elm."
To ben himself the grete hartes bane,
For after Mars he serveth now Diane." this interpretation the lines would be thus
(The Knightes Tale.) printed : “So doth the woodbine, the sweet honeysuckle,
| 31 SCENE II.—“Good strings to your beards." Gently entwist,-the female ivy so
In the first Act, Bottom has told us that he
different from the will “discharge
the part of Pyramus, “in usual Shaksperian construction. Nor is our either your straw-coloured beard, your orange poet fond of expletives. If the “elm” is the
tawny beard, your purple-in-grain beard, or ! only plant entwisted and enringed, we have
your French-crown-colour beard, your perfect ; only one image. But if the “ woodbine" is not
yellow." He is now solicitous that the strings meant to be identical with the “honeysuckle," by which the artificial beards were to be ; we have two images, each distinct and each | fastened should be in good order. The custom beautiful. Gifford pointed out the true mean.
of wearing coloured beards was not confined to ing of the passage, in his note upon a parallel
parallel the stage. In the comedy of 'Ram-alley passage in Ben Jonson :
(1611,) we have :" - behold!
" What colow'd beard comes next by the window?" How the blue bindweed doch itself enfold
" A black man's, I think." With honeysuckle, and both these entwine
"I think, a red; for that is most in fashion." Themselves with bryony and jessamine." “In many of our counties," says Gifford, "the
In the • Alchemist' we find," he had dyed woodbine is still the name for the great con
his beard and all." Stubbs, the great dissector
of 'Abuses,' gives us nothing about the coloured volvulus."
beards of men; but he is very minute about the 30 SCENE I.—“ Go one of you, find out the solicitude of the ladies to procure false hair, forester."
and to dye their hair. We dare say the The Theseus of Chaucer was a mighty anxiety was not confined to one sex. hunter:
33 SCENE I.-" The battle with the Centaurs." | Marbles and Shakspere have made the glories THESEUS has told his love the story of the of Theseus familiar to the modern world. battle with the Centaurs
"In glory of my kinsman Hercules.” 33 SCENE I.—“ This fellow doth not stand upon Shakspere has viven to Theseus the attributes
points.” of a real ber amongst which modesty is in- The Prologue is very carefully mis-pointed in
attributed the glory to his the original editions—"a tangled chain; nothing en The poets and sculptors impaired, but all disordered.” Had the fellow
maade Theseus himself the stood“ upon points” it would have read ir glorification. The Elgin (thus :
cluded. He i “ kinsman B. Da of antiquit. CD great object home
“If we offend, it is with our good will
certainly resembles the following in 'Damon That you should think we come not to oftend;
and Pithias :'But with good will to show our simple skill. That is the true beginning of our end.
“Gripe me, you greedy griefs, Consider then. We come: but in despite
And present pangs of death, We do not come. As, minding to content you,
You sisters three, with cruel hands Our true intent is all for your delight.
With speed now stop my breath." We are not here that you should here repent you. We incline to think that the Interlude is inThe actors are at hand; and, by their show, You shall know all that you are like to know."
tended as a burlesque on The Art of Sinking.' We fear that we have taken longer to puzzle
whether in dramatic or other poetry. In out this enigma, than the poet did to produce
Clement Robinson's 'Handefull of Pleasant Delites' (1684), we have a "Tale of Pyramus and Thisbe' which well deserves the honour of
a travestie. * SCENE I.-“ Myself the man ith moon do seem to be."
* SCENE II.—“Now the hungry lion roars," &c. The "man in the moon” was a considerable! “Very Anacreon," says Coleridge, "in perfect personage in Shakspere's day. He not only ness, proportion, grace, and spontaneity. So walked in the moon, (“his lantern,") with his far it is Greek: but then add, O! what wealth. “ thorn-bush" and his “dog," but he did sundry what wild ranging, and yet what compression other odd things, such as the man in the moon and condensation of English fancy. In truth has ceased to do in these our unimaginative
there is nothing in Anacreon more perfect than days. There is an old black-letter ballad of the these thirty lines, or half so rich and imaging time of James II., preserved in the British tive. They form a speckless diamond.”— Museum, entitled "The Man in the Moon drinks
(* Literary Remains,' vol. ii. p. 114.) Claret,' adorned with a wood-cut of this remark. able tippler.
37 SCENE II.—" Sing, and dance it trippingly." 33 SCENE I._" This palpable-gross play.” The trip was the fairy pace : in the 'Tempest' There is a general opinion, and probably a
“ Each one tripping on his toe, correct one, that the state of the early stage is
Will be here with mop and moe." shadowed in the Pyramus and Thisbe.' We
In the “Venus and Adonis'believe that the resemblance is intended to be general, rather than pointed at any particular
"Or, like a fairy trip upon the green.” example of the rudeness of the ancient drama. | In the ‘Merry Wives of Windsor' The description by Quince of his play— The
“About him, fairies, sing a scornful rhyme,
And as you trip stiu pinch him to your time." most lamentable Comedy,' is considered by Steevens to be a burlesque of the title-page of
| ** SCENE II.-"To the best bride-bed will we," &c.
so Cambyses, “A lamentable Tragedie, mixed full of pleasant mirth. Capell thinks that “in the “The ceremony of blessing the bed,” says Clown's Interlude you have some particular Douce, "was used at all marriages." Those who burlesques of passages in Sir Clyomen and Sir | desire to consult the original form of blessing, Chlamydes,' and in 'Damon and Pithias.'” illustrated by a copy of a hideous ancient wood.
cut, may find very full details in Douce, vol. ii. "O sisters three Come, come to me,"
| p. 199.
For the costume of the Greeks in the heroical | having been the principal object of the sculpages we must look to the frieze of the Parthenon. tors. But, nevertheless, although not one It has been justly remarked, that we are not to figure in all the groups may be represented as consider the figures of the Parthenon frieze as fully attired according to the custom of the affording us "a close representation of the country, nearly all the component parts of the national costume," harmony of composition i ancient Greek dress are to be found in the with shoulder-flaps almost to the elbow, and The lower orders of Greeks were clad in a fastened by one or more buttons down the arm short tunic of coarse materials ; over which (axillaris). Both descriptions hung in folds to slaves wore a sort of leathern jacket, called the feet, which were protected by a very simple diphthera; slaves were also distinguished from sandal (solea or crepida). Over the tunic was free men by their hair being closely shorn. worn the heplum, a square cloth or veil fastened The Amazons are generally represented on to the shoulders and hanging over the bosom as the Etruscan vases in short embroidered tonics low as the zone (tenia or strophum) which con- with sleeves to the wrist (the peculiar distincfined the tunic just beneath the bust. Athe- tion of Asiatic or barbaric nations), pantaloons, nian women of high rank wore hair-pins (one ornamented with stars and flowers to correspond ornamented with a cicada or grasshopper, is with the tunic, the chlamys, or short military engraved in Hope's 'Costume of the Ancients,' cloak, and the Phrygian cap or bonnet. HipPlate 138), ribands or fillest, wreaths of flowers, polyta is seen so attired on horseback contend. &c. The hair of both sexes was worn in long, ing with Theseus. Vide Hope's 'Costumes.' formal ringlets, either of a flat and zigzagged or of a round and corkscrew shape.
frieze. Horsemen are certainly represented but afterwards horse-bair was substituted. The with no garment but the chlamys, according to knocks were generally of gold, whilst metal the practice of the sculptors of that age ; but and silver also ornamented the bows on other the tunic which was worn beneath it is seen parts. The arrow-heads were sometimes pyra upon others, as well as the cothurnus, or buskin, midal, and the shafts were furnished with and the petasus, or Thessalian hat, which all feathers. They were carried in quivers, which, together completed the male attire of that with the bow, was slung behind the shoulders. period. On other figures may be observed the Some of these were square, others round, with Greek crested helmet and cuirass ; the closer covers to protect the arrows from dust and rain. skull-cap, made of leather, and the large circu- Several which appear on fictile vases seem to lar shield, &c. The Greeks of the heroic ages have been lined with skins. The spear was wore the sword under the left arm-pit, so that generally of ash, with a leaf-shaped head of the pommel touched the nipple of the breast. metal, and furnished with a pointed ferule at It hung almost horizontally in a belt which the butt, with which it was stuck in the ground passed over the right shoulder. It was straight, -a method used, according to Homer, when intended for cutting and thrusting, with a leaf- the troops rested on their arms, or slept upon shaped blade, and not above twenty inches long. their shields. The hunting-spear (in Xenophon It had no guard, but a cross bar, which, with and Pollux) had two salient parts, sometimes the scabbard, was beautifully ornamented. The three crescents, to prevent the advance of the hilts of the Greek swords were sometimes of wounded animal. On the coins of Ætolia is ivory and gold. The Greek bow was made of an undoubted hunting-spear. two long goat's horns fastened into a handle. The female dress consisted of the long The original bow-strings were thongs of leather, I sleeveless tunic (olola or calasiris), or a tunic