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NOTES:-Richard Francklin, 41-Shakspeariana, 42-West of England Ballads-Beige-Salle Church, 44-Kind regards"-Cumberlandism-Dickens's Ancestors-Spider-cotSchoolmaster Wanted" Arrant Scot"-Dictionary of Anonymous Literature'-Clerks of the Peace, 45-Spence's

'Anecdotes'-Bearded Darnel States, 46.

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Citizens of the United QUERIES:-Carbonari of Naples-Lord Mayor's Show-Book Illustrating-Younger's Company-Pope Adrian I.-St. Gregory Codex Compendiensis ' Mongéot - Bridge at Schaffhausen-Sir John Friend-"Gofer" Bells-Countess of Blessington, 47-Corfe Castle-Macaroni-Garrard Family -George Fleetwood-Medal of T. Johnson-Parody Wanted -John Rollos, 48-Twenty-Franc Piece-Lovelyn's Poems'

and Vivian"-Mantle Street, 49.

to the qualities enumerated, it is pleasant to know that Francklin stood alone in befriending Amhurst in his last days of poverty, and that it is entirely owing to the bookseller's liberality that the remains of the original "Caleb D'Anvers" were preserved from a pauper's grave.

Although I have been unable to find any account either of the date of Francklin's birth or of his death, it is certain that he served an apprenticeship to Edmund Curll ('Curll Papers,' p. 8n.), and that he succeeded William Rufus Chetwood as a bookseller in Russell Street, Covent Garden. It would appear from 'An Epistle from Dick Franck-Comitatus Cereticus - Erasmus - Butterfield "The Fox lin, Bookseller, to Nick Amhurst, Poet, up Three REPLIES:-Dress of London Apprentice, 49-Bed-rock, 50-Pair of Stairs' (1721), that the two had been intiHeraldic-Kissing under the Mistletoe - Kenelm Henry mately associated for some time. This poetical Digby-Queenie, 51-Death Warrants-The Fox-Chestnut, skit, which I do not find in the British Museum, 52-Robert Burton-Battle interrupted by an Earthquake, 53-Miss Foote-Allibone's Dictionary-Charger-English was occasioned by Amhurst's 'Epistle to Sir John Grammars-Relic of Witchcraft-Children, 54-Book of Blount,' one of the directors of the South Sea Martyrs-Folk-lore Tales-Golden Horn-Broadside Ballad -Mercury Biography-Tête-à-Tête PortraitsCount Company (1720). From this "poem" it would Lucanor-Tennyson's J. S., 55-Cheese-making-Burial of seem that the general impression ran to the effect Horse and Owner-Death of Clive-Uncle-Exeter Coach that Amhurst was not only in the employ of Road, 56-Inkerman-English Dialect Dictionary-Highering-Fairholt-Muffling Bells - Belgian Custom-Thomas Francklin, but that he took as part payment for Lucas, 57-Practical Jokes in Comedy-Longitude and Mar- his work board and lodging-somewhat similar, riage-Book of Jasher-Medieval Names, 58. In Memoriam: J. O. Halliwell-Phillipps, 59. perhaps, to the arrangement between Dryden and NOTES ON BOOKS:-Toulmin Smith's Jusserand's English Herringman. The following eight lines conclude Wayfaring Life in the Middle Ages-Christy's Proverbs, the "poem " (Francklin is, of course, supposed to Maxims, and Phrases'-Thomas's Philobiblon of Richard be writing) :

de Bury.'

Notices to Correspondents, &c.

Pates.

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RICHARD FRANCKLIN, BOOKSELLER. There are very many facts about this interesting and courageous personage which one would like to know, but most of which are probably beyond learning. Biographical dictionaries do not mention him at all; John Nichols only alludes to him once as the publisher of 'An Historical and Critical Essay on the Thirty-nine Articles' (1724); and his name only occurs twice in the several indices to 'N. & Q. Yet he is a prominent figure in the early newspaper history of this country. One likes to dwell upon the careers of the very few men who lived and acted consistently and fearlessly during the first quarter of the last century. The temptations to "run" with the party in power were so great, and the penalties of an antagonistic policy so severe, that those who actually stuck to their principles through thick and thin were very few indeed. Richard Francklin, the bookseller, and Nicholas Amhurst, the journalist, were two men whom neither fear nor favour enticed off the high road of political virtue. Precedent (in the House of Commons) is regarded as of great importance, and if the two just named desired to turn, they might have adduced innumerable instances of the most barefaced and flagrant turncoatism. Nearly every leading man had at one time or other found it convenient to veer like a weathercock. In addition

So may thy name be spread, and I

With Tonson and with Lintot vie;

So may'st thou pay, in Fame or Wealth,
The score we tick'd to Bl--T's good health:

So may in time a just reward

Descend on him, and thee, his bard;

And thus your diff'rent emblems shine,

The rope be Bl--T's, the Laurel thine. The next most important event in the careers of Amhurst and Francklin was the publication of the Craftsman, concerning which a few notes appear in the December number of the Bookworm. The earlier numbers did not bear Francklin's imprint, but may all the same have been undertaken by him. The first number appeared December 5, 1726, and the paper soon secured an unprecedented popularity. The ministry of Walpole quickly felt the result of its persistent and uncompromising criticism. The sixteenth issue caused both Francklin and Amhurst to be arrested, but they were apparently soon released. No. 31 again brought about the imprisonment of Francklin, but the prosecution, through a flaw in some of the forms of procedure, came to nothing. In January, 1730/1, the bookseller once more suffered incarceration. A number of political "friends" promised to subscribe 50l. each as compensation to him, but only three paid up, one of whom was Pulteney.

In 1732 a pamphlet of 32 pp. appeared, entitled 'Bob-Lynn against Franck-Lynn,' a political tract, which purports to be the history of the "controversies and dissentions in the family of the Lynns; occasioned by the quarrel of Bob-Lynn ‍[i, e., Sir

Robert Walpole] and Will Worthy, which involved James
Waver, Tom Starch, Squire Maiden, Dick Dabble, and
Mr. Munick on Bob's side, and Franck-Lynn and Nick
Waver, cum multis aliis, on the other."

It will be seen, therefore, that Francklin was con-
sidered a politician of some importance.

The Daily Gazetteer, which was the Craftsman's bitterest opponent, published in its issue of May 12, 1736 (No. 273), a 'Supposed Letter from Dicky Francklin to Caleb D'Anvers, Esq.,' in which the bookseller is made to lament the declining state of the Craftsman, which he attributes to the enforced absence of Bolingbroke. He grimly "thinks of" and dreads the "calamitous day" when "your own native air shall no longer agree with you, and you shall chuse to seek a retreat in some foreign country."

Johnson alludes to the dispute between Mallet and Francklin in connexion with the copyright of certain works of Bolingbroke. In May, 1754, appeared A Short State[? ment] of the Case relating to a Claim made by Richard Francklin on David Mallet.' Although the matter was referred by mutual consent to Draper and Wotton, and although Mallet not only agreed to abide by their decision, but signed to that effect, he shortly afterwards repudiated it. This pamphlet is commented on in the Gentleman's Magazine, xxiv. 247. The Rev. T. Francklin, who wrote many works, several of which bore his father's imprint, and who died in Great Queen Street, March 15, 1784, was a son of the bookseller, and was educated for the Church by the advice of Pulteney. W. ROBERTS.

true reason-its power of dilating the pupil, and thus
giving brilliancy to the eye.] "-Parkinson, Th. Botan.,'
1640, p. 348.
Of the Moors who paint Angels
Black, and Divils White.

2.

J. Owen, D.D., Epigrams,' translated by
Th. Harvey, 1677, Bk. ii. 15, p. 173.

Steevens, also, not understanding the use of guiled,
says that our author" in this instance, as in many
others, confounds the participles. Guiled stands
for guiling." But Shakespeare, I take it, uses this
far more appropriate form, in its causal sense, as the
shore that by the beauty added to it is made guiled,
or made the guile to a most dangerous sea.

BR. NICHOLSON.

THE OBELI OF THE GLOBE EDITION IN 'As YOU LIKE IT' (7th S. vi. 262, 343).—On returning to 'N. & Q.' after an absence of seven years, while sorry at missing the names of several former contributors to the "Shakspeariana,' I was very happy to see still extant the well-known and honoured name of DR. NICHOLSON. We have crossed swords before. I hope we shall always do so with "leaden points."

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II. vii. 70.—In his remarks on my note on this passage DR. NICHOLSON has strangely mistaken me. I never discarded " very. On the contrary, one of my principal objections to Singer's emendation was that in it "very " had no significance. No one would speak of a man spending his "very" means; but there is great significance in saying that pride endures to the "very " end of life. DR. NICHOLSON seems to have overlooked my P.S., in which I give evidence that " means" was a form of "moans." Shakspeare may have used it here in order (having regard to the simile employed) to keep up the monotone of the vowel sound, "weary means." People with " a manor on their backs" must have felt "INDIAN BEAUTY": "MERCHANT OF VENICE,' rather embarrassed in the "tide." Had Shak

10, Charlotte Street, Bedford Square.

III. ii.

SHAKSPEARIANA.

Thus ornament is but the guiled shore

To a most dangerous sea; the beauteous scarf
Veiling an Indian beauty; in a word,

The seeming truth which cunning times put on
T'entrap the wisest.

speare no regard to consistency of metaphor ?

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III. v. 6.—When the complex sentence "he that dies and lives by bloody drops" is resolved into its two simple elements they are as follow: "he that dies by bloody drops" and "he that lives by Both his conclusion and its happy result, as well as bloody drops." Whether the first stands first or the whole scope of this passage clearly show that second DR. NICHOLSON may, on presenting it, still he would tell us that ornament is but the gaudy say, "Pause, reader, on this dying by bloody addition used to conceal something ill-looking or drops' and refrain from laughter if you can." It repulsive, or even ill-doing. But some, not know-was just because in its literal sense it is nonsense ing what " an Indian beauty" meant in Shake- that I sought for a meaning which gives it an imNo less than "the common execuspeare's days, would assign a wrong meaning to the portant sense. phrase; while others would, as they suppose, emend tioner," the fraudulent banker, the swindling the word "beauty." As correctives to these, and company-promoter, &c., as illustrations of his true meaning, let me quote the following:

1. "The sixth [species of Nightshade] is generally by the Italians called Bella Donna, either per Antiphrasin, because it is blacke, as the Moores do account them fairest that have the finest blacke skinne, or, as some have reported, because the Italian dames use the juice or distilled water thereof for a fucus. [He not knowing the

Whose heart the accustomed sight of woe makes hard, while they ruthlessly pursue their selfish moneymaking ends, kill their own souls, die while they live, if not "by bloody drops," on orphans' bread and widows' tears.

Summum crede nefas animam præferre pudori,
Et propter vitam vivendi perdere causas.

IV. iii. 86.—I do not think DR. NICHOLSON is likely to have many rivals in his liking for the "ripe "Rosalind. Warned off by the editors of the Globe, who do not like while they tolerate her, I, for one, shall avoid her. In support of my proposed reading, cf.

and " 28).

I am a right maid for my cowardice.

'Midsummer Night's Dream,' III. ii, 302; a right gipsy" ('Ant. and Cleop.,' IV. xii. R. M. SPENCE, M.A. Manse of Arbuthnott, N.B. THE OBELI OF THE GLOBE EDITION IN 'MEAsure for Measure' (7th S. v. 442; vi. 303, 423). -I am sorry that I have not the number of N. & Q.' by me which contains MR. SPENCE'S original notes on the Globe-marked corruptions of Measure for Measure'; but there are one or two passages, where MR. MOORE dissents from MR. SPENCE'S suggestions, which seem to me to require a last word.

I. i. 6:

Then no more remains

But that to your sufficiency, as your worth is able,
And let them work.

I have always preferred Hanmer's reading, "To do it slander," though it is far from clear that the text of the Folio is not correct. But why MR. MOORE should lay his hand on the previous line, which makes perfect sense, is beyond my conception. Are we to be for ever modernizing Shakespeare, or bringing his pregnant sentences down to the level of our commonplace mediocrity? HOLCOMBE INGLEBY.

Eastbourne.

P.S.--I have much pleasure in adding that, in regard to the note on the first passage, so good an authority as DR. BR. NICHOLSON quite concurs in my interpretation.

'TIMON OF ATHENS,' IV. iii. 143 (7th S. vi. 423).-Though I entirely agree with DR. NICHOLSON, at the above reference, in condemning Mr. WATKISS LLOYD'S most liberal treatment of Shakespeare's text in this passage, I think the champion of the Folio has an unlucky remark which tends to weaken his argument. All MR. LLOYD wants in support of his variant "pale sick mouths" (apart from authority) is something entirely wrong with that portion of the face. DR. NICHOLSON says, AS DR. NICHOLSON says in regard to another pas-"Where does Shakespeare or other author of that sage, "it may be my obtuseness," but I confess date ever allude to the loss of teeth as caused by," that, for myself, I have never found any great diffi- &c.? MR. LLOYD did mention, quite needlessly, culty in understanding this passage. If every "teeth." I give references to two passages (they are elliptical or condensed passage in Shakespeare is not fit for transcription) which are sufficient for the to be amended, we shall destroy much that is cha- argument of MR. LLOYD, and it would be very easy racteristic of our unrivalled dramatist. Undoubtedly to find more. I refer to Middleton's 'Mad World to my mind he intends the duke to say, "Then my Masters' (Bullen's ed., vol. iii. p. 321), and Ben nothing remains for me but to add my authority Jonson's 'Poetaster,' IV. i. (he holds in his hand the commission) so as to make up your sufficiency, your worth being able, and leave them (your worth and sufficiency) to do their work." I maintain that this is a thoroughly characteristic passage; and if the metre be put forward as a stumbling-block, I answer that there are a dozen such lines in this very play, and that no line is to be considered corrupt because it happens to be a rugged double-ending Alexandrine. II. i. 21.-This last remark applies more or less to the next passage :

What's open made to justice That justice seizes. The sense of this passage is so clear that no radical emendation can possibly be upheld. Again, the only stumbling-block is the metre; and again I say that, having regard to the slovenliness of the metre in many of the plays, it is impossible to consider this a sufficient reason for trying one's hand at improvement. No doubt MR. SPENCE is right in saying that the compositor's eye caught the ce of ceizes from the end of the preceding word, which sufficiently accounts for the slight misprint of c for s.

I. iv. 42.

And yet my nature never in the fight
To do in slander.

In another note (7th S. vi. 305) DR. NICHOLSON explains the long-contested passage in Winter's Tale' (II. i. 133) by a dictum from Aristotle to the effect that the horse is the most lascivious of quadrupeds. Does DR. NICHOLSON mean that this equine characteristic will explain the multitudinous passages in the play-writer referring to horse-keepers or grooms in this wise? "If she change but a trencher with the groome of your stable, 'tis dealing enough to be divorced." This allusion, or superstition, or whatever it is called, will be met with continually amongst the dramatists. See Chapman's May Day' and 'All Fools'; Greene's James IV.'; Middleton's 'Mad World my Masters'; 'Much Ado about Nothing,' III. iv. 48; 'Cupid's Whirligig'; Day's 'Isle of Gulls'; Brome's City Wit'; and Marlowe's 'Dr. Faustus.' In all these plays passages with a similar meaning to that quoted may be found. I think something more is wanted in explanation than has yet been given. H. C. HART.

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"I want a kiss from thy lily-white lips,
One kiss is all I crave," &c.

Then comes this curious verse :—
"Go fetch me a light from dongeon deep
And water from a wheel,

And gather milk from a maiden's breast,
Spin sunshine off a reel."

in 1399 and Edward IV. in 1471; and was "soon afterwards" entirely swept away by the sea. Nearly all these statements are wrong. Ravenspur and Ravenspurn are the old names of the headland itself. There stood formerly two seaport towns on the Spurn, viz., Ravenser and Ravenser-Odd. Both these were entirely swept away by the sea long Can any one furnish me with the complete ballad? before the date of Bolingbroke's landing upon the naked shore at Ravenspurg" ('1 Hen. IV.,' IV. iii.). Shakespeare no doubt copied Holinshed in spelling the name with a g, which is also wrong. Cf. an article on the Early History of Spurn Head' in the Hull Portfolio for 1887. L. L. K.

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Cold blows the wind to-night, sweetheart,
Cold are the drops of rain.

The very first love that ever I had

In greenwood he was slain.

I'll do as much for my sweetheart
As any young woman may,
I'll sit and mourn on his grave-side
A twelvemonth and a day.

A twelvemonth and a day being up
The ghost began to speak,
"Why sit you here by my grave-side,
And will not let me sleep?"

"O think upon the garden, love,
Where you and I did walk.

The fairest flower that blossom'd there
Is withered on the stalk."

"What is it that you want of me,
Who moulder in my grave?"
"A kiss from off thy lily-white lips
Is all from thee I crave."

"Cold are my lips in death, sweetheart,
My breath is earthy strong.

If you should kiss my clay-cold lips
Thy time would not be long.
"If you were not my very true love,
As now I know you be,

I'd tear you as the withered leaves
Are torn from off yon tree."

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And now I've mourned upon his grave

One twelvemonth and a day,

I'll set my sails before the wind

And I will sail away.

Lew Trenchard, N. Devon.

S. BARING GOULD.

BEIGE. This is a French word, no doubt, and an old French word it would seem (see Littré), still, as it has been domiciled among us for quite the last ten years (so I am assured by ladies), it might, I think, have been admitted to naturalization, and have found a place in the 'N.E.D.'; but, alas! it has not. It is used, I am told, of a thin, light, woollen material, commonly grey or drab in colour, and suitable for ladies' summer dresses. Littré defines "laine beige" as "laine qui a sa couleur naturelle," and the stuff which is now called beige in England has, I am informed, much the colour and appearance of Jaeger's underclothing, which professes to be pure, undyed wool. It is not surprising, therefore, that we now find (in England at least) beige applied to the colour as well as to the stuff.

The word has lately undergone promotion, for it has been freely admitted into Mr. W. Besant's 'The Inner House,' and this is how my attention was drawn to it. See, e. g., pp. 18, 29, 51, 53, 56 of the Arrowsmith edition, 1888. Mr. Besant speaks of beige everywhere as grey. He praises it because "it is a useful stuff" and wears well," because "it is soft and yet warm," and because "it cannot be objected to......on the score of ugliness" (p. 18); and this is why he has chosen it for the dress of his socialist women "of the Later Era," who must all, of course, wear one uniform dress. Surely, then, this stuff, with such a transcendent future before it, is worthy to find some mention in the pages of N. & Q.'

As for the derivation of beige, Littré connects it with the French bis-gris brun, and with the Ital. bigio grey; and as in Old French the form is bege, and the present form of bis is bège in the Berry dialect, there seems to be some foundation for this view. F. CHANCE.

Sydenham Hill.

SALLE CHURCH, NORFOLK. (See 7th S. vi. 202.) -The derivation of this name appears to be from the Anglo-Saxon sál a willow, and there might have been some large trees of that species in the

=

In the other fragment the maid "in the church- place. It is analogous to the Latin salictum and

yard she is lain."

When a twelvemonth and a day were up

Her body straight arose,

"Say wherefore weep upon my grave

And trouble my repose?"

salix. In the district of Craven, in Yorkshire, on the banks of the Ribble, are the ruins of Sawley or Sallay Abbey, the name of which is derived from a similar source. At Pershore, in Worcestershire, a willow or osier bed is called a sallay bed."

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