counterparts in his own nature. As in the Midsummer Night's Dream, act ii. sc. I, line 148, vol. ii. p. 215, when Oberon bids Puck to come to her, "Thou rememberest Since once I sat upon a promontory, And heard a mermaid, on a dolphin's back, And certain stars shot madly from their spheres To hear the sea-maid's music." And again, in the Merchant of Venice, act v. sc. 1, lines 2 and 54, vol. ii. p. 360, how exquisite the description !— "When the sweet wind did gently kiss the trees, And they did make no noise." Lorenzo's discourse to Jessica is such as only a passion-warmed genius could conceive and utter: 66 How sweet the moonlight sleeps upon this bank! Sit, Jessica. Look how the floor of heaven Is thick inlaid with patines of bright gold : There's not the smallest orb which thou behold'st But in his motion like an angel sings, Still quiring to the young-eyed cherubins; Such harmony is in immortal souls.". And Ferdinand, in the Tempest, act i. sc. 2, l. 387, vol. i. p. 20, after listening to Ariel's song, "Come unto these yellow sands," thus testifies to its power :— "Where should this music be? i' th' air, or th' earth? Allaying both their fury and my passion With its sweet air: thence have I follow'd it, Thus, from his sufficient command over the requisite languages, from his diligent reading in the literature of his country, translated as well as original, from his opportunities of frequent converse with the cultivated minds of his age, and still more from what we have shown him to have possessed,-accurate taste and both an intelligent and a warm appreciation of the principles and beauties of Imitative Art,-we conclude that Shakespeare found it a study congenial to his spirit and powers, to examine and apply, what was both popular and learned in its day, the illustrations, by the graver's art and the poet's pen, of the proverbial wisdom which constitutes almost the essence of the Emblematical writers of the sixteenth century. To him, as to others, their works would be sources of interest and amusement; and even in hours of idleness many a sentiment would be gathered up to be afterwards almost unconsciously assimilated for the mind's nurture and growth. When we maintain that Shakespeare not unfrequently made use of the Emblem writers, we do not mean to imply that he was generally a direct copyist from them. This is seldom the case. But a word, a phrase, or an allusion, sufficiently demonstrates whence particular thoughts have been derived, and how they have been coloured and clothed. They have been gathered as flowers in a country-walk are gathered-one from this hedge-side, another from that, and a third from among the standing corn, and others from the margin of some murmuring stream; but all have their natural beauty heightened by the skill with which they are blended so as to impart gracefulness to the whole. Flora's gems they may be, but the enwoven coronal borrows its chief charm from the artistic power and fitness with which its parts are arranged: break the thread, or cut the string with which Genius has bound them together, and they fall into inextricable confusion-a mass of disorder-no longer a pride and a joy: but let them remain, as a most excellent skill has placed them, and for ever could we gaze on their loveliness. A matchless beauty has been achieved, and all the more do we value it, because upon it there is also stamped eternal youth. CHAPTER IV. THE KNOWLEDGE OF EMBLEM-BOOKS IN BRITAIN, AND GENERAL INDICATIONS THAT SHAKESPEARE WAS ACQUAINTED WITH THEM. ONUMENTS, or memorial stones, with M emblematical figures and characters carved upon them, are of ancient date in Britain as elsewhere-probably antecedent even to Christianity itself. Manuscripts, too, ornamented with many a symbolical device, carry us back several hundred years. These we may dismiss from consideration at the present moment, and simply take up printed books devoted chiefly or entirely to Emblems. I. Of printed Emblem-books in the earlier time down to 1598, when Willet's Century of Sacred Emblems appeared, though there were several in the English language, there were only few of pure English origin. Watson and Barclay, in 1509, gave English versions of Sebastian Brant's Fool-freighted Ship. Not later than 1536, nor earlier than 1517, The Dialogue of Creatures moralysed was translated "out of latyn in to our English tonge.' In 1549, at Lyons, The Images of the Old Testament, &c., were 66 set forthe in Ynglishe and Frenche;" and in 1553, from the same city, Peter Derendel gave in English metre The true and lyvely historyke Portreatures of the woll Bible. The Workes of Sir Thomas More Knyght, sometyme Lorde Chauncellour of England, were published in small folio, London, 1557, and in them at the beginning (signature Cijʊ—ciiij) are inserted what the author names "nyne pageauntes," which, as they existed in his father's house about A.D. 1496, were certainly Emblems. To this list Sir Thomas North, in London, 1570, added The Morall Philosophie of Doni, "out of Italien;" Daniell, in 1585, The worthy Tract of Paulus Fovius, which Whitney, in 1586, followed up by A Choice of Emblemes, "Englished and moralized;" and Paradin's Heroicall Devises were "Translated out of Latin into English," London, 1591. To vindicate something of an English origin for a few emblems at least, reference may again be made to the fact that about the year 1495 or 6, “Mayster Thomas More in his youth deuysed in hys fathers house in London, a goodly hangyng of fyne paynted clothe, with nyne pageauntes,* and verses ouer of euery of those pageauntes: which verses expressed and declared, what the ymages in those pageauntes represented : and also in those pageauntes were paynted, the thynges that the verses ouer them dyd (in effecte) declare." In 1592, Wyrley published at London The true use of Armories, &c.; soon after appeared Emblems by Thomas Combe, which, however, are no longer known to be in existence; and then, in 1598, Andrew Willet's Sacrorum Emblematum Centuria vna, &c.,-"A Century of Sacred Emblems." Guillim, in 1611, supplied A Display of Heraldry; and Peacham, in 1612, A Garden of Heroical Devices. There were, too, in MSS., several Emblem-works in English, some of which have since been edited and made known. Yet we must not suppose that the knowledge of Emblembooks in Britain depended on those only of which an English * The subjects of the "nyne pageauntes," and of their verses, are-"Chyldhod, Manhod, Venus and Cuppde, Age, Beth, Fame, Tyme, Eternitee," in English; and "The Poet" in Latin. |