You are here
قراءة كتاب Notes and Queries, Vol. V, Number 132, May 8, 1852 A Medium of Inter-communication for Literary Men, Artists, Antiquaries, Genealogists, etc.
تنويه: تعرض هنا نبذة من اول ١٠ صفحات فقط من الكتاب الالكتروني، لقراءة الكتاب كاملا اضغط على الزر “اشتر الآن"
Notes and Queries, Vol. V, Number 132, May 8, 1852 A Medium of Inter-communication for Literary Men, Artists, Antiquaries, Genealogists, etc.
posterity on the life-like marble of Chantrey's "Sleeping Children." I have heard that this mode of defacing monuments took its rise in the time of the Protectorate; and I would wish to put this in the form of a Query: Whether it was so, or no? With the impression that it was the case, I have for many years past examined the dates that accompanied names scratched upon monuments, and never found a date earlier than the Protectorate. The subject seems worth the inquiry.
To return to Bede's chair. It has often been engraved: but the best representation of it that I know, is that by Mr. W. B. Scott, in his Antiquarian Gleanings of the North of England. Besides his careful etching of the present state of the chair, he also gives a suggestive woodcut of its restoration. The ornamental portion he confines to the front of the seat, and the head of the chair.
CUTHBERT BEDE, B.A.
Dedication Stone at Jarrow Church.
—While on the subject of Bede's chair at Jarrow, it may not prove altogether useless to transcribe you a faithful copy of the dedication stone of Jarrow Church, which is now placed against the tower-arch of the nave:
DEDICATIO BASILICAE
SCIPAVLI VIIII KL MAI
ANNO XVECFRIDIREG
CEOLFRIDIABBEIVSQ
Q·ECCLESDOAVCTORE
CONDITORIS ANNO IIII
CUTHBERT BEDE, B.A.
INEDITED POETRY.
The first piece in the volume of MS. poetry referred to in my communication in Vol. v., p. 387., may perhaps be deemed of sufficient interest to occupy a place in your columns. It is entitled "A Ballad," and appears to me worthy of notice from its quaintness both in style and rhythm.
"A BALLAD.
"Sure glorious Modesty again will rise,
Since she can conquer in bright Marcia's eyes.
Each look of hers creates a lambent fire,
And youth and age concur her virtue to admire.
Hence flow these lines from an unpolish'd hand,
Which thinks her Marcia should the world command.
Go, lovely maid, and let each virgin see
How graceful modesty appears in thee.
That they may all thy imitators be,
And give example to posterity.
1.
"View Marcia's native charms,
She's graceful in behaviour,
By wise advice she steers,
And with all the world's in favour.
No foolish talk slides from her tongue,
Her eyes ne'er wanton seem,
Regards her friends, respects the great,
And is humble to the mean.
2.
"How gentle is her voice,
Not loud with foul detraction,
Good sense guides all her words,
And prudence every action.
Not stiff in dress, or careless she,
But in the graceful mean,
What e'er she wears she still appears
Like some majestic queen.
3.
"Her mind and thoughts still tends [sic]
How to perform her duty;
To her parents' laws she bends,
Which adds more to her beauty.
In conduct she a matron is
With cheerful air and mein, [sic]
The steddiness of sixty years, [sic]
In look she's scarce fifteen.
4.
"In friendship most sincere,
As well as in devotion,
To herself alone severe,
And guards her every motion.
Her conquering eyes give her no pride,
Her charms she will not know,
Nor meaner beautys does deride [sic],
Tho' they their envy show.
5.
"How lovely is that face
Where modesty's adorning,
And Marcia with that grace
Is improving every morning.
She like the glorious sun in spring
Is encreasing every day,
For her Apollo's harp he'll string,
And the Muses sing their lay.
6.
"How happy is this nymph,
Whose noble inclination,
All subtle arts contemns
And sligh made assignation: [sic]
Whose hours are spent in useful works,
Or reading tracts divine,
The young, the grave, the wise, the brave,
Pay homage at her shrine.
And so does
Her humble slave,
I hope that some of your readers will be able to explain this signature, which is to me inexplicable.
W. SPARROW SIMPSON.
ON A PASSAGE IN "MEASURE FOR MEASURE," ACT I. SC. 1.
Dr. Johnson long since observed that "there is perhaps not one of Shakspeare's plays more darkened than this by the peculiarities of its author, and the unskilfulness of its editors, by distortions of phrase, or negligence of transcription."
Under these circumstances we cannot be surprised that we are favoured with three pages of notes on the following passage, which occurs in the opening scene:
"Duke. Escalus.
"Escal. My lord.
"Duke. Of government the properties to unfold,
Would seem in me to affect speech and discourse:
Since I am put to know, that your own science
Exceeds, in that, the lists of all advice
My strength can give you: Then no more remains
But that to your sufficiency, as your worth is able,
And let them work."
I must refer those who are desirous of seeing the various attempts to extract a meaning from this passage to the Variorum Edition, and content myself with those of the two latest editors, Mr. Collier and Mr. Knight.
Mr. Collier says:
"This passage is evidently corrupt, as is shown both by the metre and the sense. The latter will be cleared by the omission of the preposition 'to:' 'then no more remains [to be said], but that your sufficiency, as your worth is able, and let them work.' This change, however, will only partially cure the defective measure; and even were we to omit 'that,' as well as 'to,' the line would not be perfect without reducing 'sufficiency' to a trisyllable. It has been thought best, therefore, to leave the text as it stands in the first folio. 'Sufficiency' is adequate authority."
Mr. Knight says:
"We encounter at the onset one of the obscure passages for which this play is remarkable. The text is usually printed thus:
"'Then no more remains
But that to your sufficiency, as your worth is able,
And let them work.'
"It is certainly difficult to