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This is wholly Massinger's. It is all in metre. Parallels are so numerous that it is only necessary to give here a selection of the more striking. I have left many characteristic turns of expression unnoted. 'Twas a benefit

1. Theophilus : For which I ever owe you.

Compare:

'Tis a noble favour (The Bondman,' II. i.) 2. Sapritius: . . . when we are merciful to them

for which I ever owe you.

We to ourselves are cruel.

Compare :

You to us prove cruel.

3. Sempronius:

in compassion to them,

(Maid of Honour,' II. iii.)

You pour oil

On fire that burns already at the height.
Compare:-

Your words are but as oil pour'd on a fire,
That flames already at the height.
(Unnatural Combat,' II. iii.)
... in this you but pour oil on fire.

(* Duke of Milan,' V. i.) Massinger has this in several other plays.

4. Dioclesian: Had you borne yourselves Dejectedly, and base, no slavery

Had been too easy for you: but such is
The power of noble valour, that we love it
Even in our enemies.

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7. Antoninus: As I look on the temples, or the gods,

And with that reverence, lady, I behold you.
Compare :-

As I behold the sun, the stars, the temples,
I look on you.
(Bashful Lover,' I. i.)
. . when I came
To see you, it was with that reverence
As I beheld the altars of the gods.

Bondman,' II. i.) 8. Antoninus: Refuse what kings upon their knees would sue for!

Massinger repeats this over and over again with slight variations. Two parallels will suffice :

to court him to embrace A happiness which, on his knees, with joy He should have sued for.

(Great Duke of Florence,' V. ii.) these bounties

Which all our Eastern kings have kneel'd in vain for. (Renegado,' II. iv.)

9. Antoninus: Pardon, dread princess, that I made some scruple

To leave a valley of security

To mount up to the hill of majesty,

On which, the nearer Jove, the nearer lightning. Compare:

I'll look on human frailty

And curse the height of royal blood: since I

In being born near Jove, am near his thunder. (Maid of Honour,' II. i.) The fox,

10. Antoninus:

When he saw first the forest's king, the lion,
Was almost dead with fear; the second view
Only a little daunted him; the third,
He durst salute him boldly.

Compare :

The fox, that would confer

With a lion without fear, must see him often. (Believe as you List,' III. ii.) Act II., scene i.

Written by Dekker.

Over one-third consists of prose dialogue between Hircius and Spungius. Then Angelo appears, speaking in verse, whilst Hircius and Spungius continue to speak in prose; finally Dorothea enters, speaking verse.

Apart from the fact that Massinger rarely uses prose, the Hircius-Spungius dialogue shows positive evidence of Dekker's authorship in several of his characteristic words and expressions. The blank verse is also his, showing no trace of Massinger's metrical style or vocabulary. Particular indications of Dekker's authorship to be noted are :

1. Spungius: Bacchus . . grand patron of rob-pots, upsy-freesy tipplers, &c. Dekker's plays are full of the Dutch and their habits. sion "to drink upsie-freese"

allusions to The expres(i.e., in the

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Dutch fashion) occurs several times in his works, e.g., Gull's Hornbook' (Grosart, vol. i., p. 206), Northward Hoe,' II. i. It is not to be found in Massinger's plays.

2. Hircius: Thy last shall serve my foot. References to the shoemaker's trade are noticeably frequent in Dekker. He again uses this expression in Westward Hoe,' II. iii. :

That last shall serve all our feet.

It must be rare, for I have found it in no other Elizabethan play.

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The expression "to hit one in the teeth," although not generally common, is also one constantly used by Dekker. It is in 'Satiromastix,' I. ii., "Westward Hoe,' III. iii., Gull's Hornbook' (Grosart, i, 158), Patient Grissil' (Sh. Soc. Reprint, 37), The Roaring Girl,' IV. ii. and V. i., &c. It is not used in any of Massinger's numerous independent plays.

The speeches of Angelo and Dorothea are essentially Dekkerian in style and spirit. Angelo's vigorous outburst on hearing that the money entrusted to Hircius for the relief of prisoners has been paid away":

66

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All in metre. The hands of both authors are apparent here. Metrical considerations seem to point to Dekker as the principal author; the scene was probably written by him and afterwards touched up by Massinger.

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66

. Dorothea.

The allusion here, to fireworks running upon lines, is indubitably Dekker's. It is to be found in The Whore of Babylon' (Pearson, ii. 230), Northward Hoe,' IV. V., Jests to Make You Merrie' (Grosart. ii. 343), and doubless elsewhere. Dekker again applies it figuratively, as in the text, to a person employed to carry messages from one person to another. Compare The Roaring Girl,' V. i. (one of Dekker's scenes)::used that rogue

.

A justice in this town like a firework, to run upon a line betwixt him and me.

And again in 'The Honest Whore,' Pt. 2. II. i., we have :—

The fireworks that ran from me upon lines against my good old master, &c.

The other is in Theophilus's speech at the end of the scene.

2. I will not lose thee then, her to confound.

I doubt if a single instance of an inversion of this kind is to be found in the whole collection of Massinger's plays, whereas there are several such in Dekker. So far as I have noticed, they occur always in tragic passages. The following may be given as examples :

Have we not all it tasted?

(Whore of Babylon,' Pearson, ii. 256.) Nothing but your mercy me can save. Mine own shame me confounds.

(Ibid., ii. 267).

(Roaring Girl,' IV. ii.) Massinger's hand is to be recognized in the following passages :

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1. Theophilus : I'm turned a marble statue at thy language.

Compare :

almost turns me into a senseless statue. (Emperor of the East,' V. i.) Are we all turned statues ? Have his strange words charmed us? ('City Madam,' III. ii.) Antoninus

2.

Plays the Endymion to this pale-faced moon. This is part of the speech of Harpax containing the fireworks allusion to which reference is made above. For the allusion to Endymion, compare :

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he's a man,

For whose embraces, though Endymion Lay sleeping by, Cynthia would leave her orb. ('Guardian,' II. ii.) Though Dekker also has allusions to Two clear indications of Dekker are to Endymion (see Match Me in London,' be noted. The first is in a speech of Pearson, iv. 211), pale-faced moon Harpax :stamps this reference as Massinger's. We

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I may be allowed to give a few extracts from the account, which occupies nearly four pages.

One of the various kinds of the old Roman game of Pila still survives under the modern name of Pallone. It is played between two sides, each numbering from five to eight persons. Each of the players is armed with a bracciale, or gauntlet of wood, covering the hand and extending nearly up to the elbow, with which a heavy ball is beaten backwards and forwards, high into the air, from one side to the other. The object of the game is to keep the ball in constant flight, and whoever suffers it to fall dead within his bounds loses. It may, however, be struck in its first rebound, though the best strokes are before it touches the ground. The gauntlets are hollow tubes of wood, thickly studded outside with pointed bosses, projecting an inch and a half, and having inside, across the end, a transverse bar, which is grasped by the hand, so as to render them manageable to the The balls, which are of the size of a large cricket-ball, are made of leather, and so heavy, that, when well played, they are capable of breaking the arm unless properly received on the gauntlet. They are inflated with air, which is pumped into them with a long syringe, through a small aperture closed by a valve inside. The game is played on an oblong figure marked out on the ground, or designated by the wall around the sunken platform on which it is played; and across the centre is drawn a transverse line, dividing equally the two sides. Whenever a ball either falls outside the lateral boundary, or is not struck over the central line, it counts against the party playing it. When it flies over the extreme limits it is called a volata, and is reckoned the best stroke that can be made. At the end of the lists is a spring-board, on which the principal player stands.

wearer.

other has made anything, it is called a marcio,
When both parties count
and counts double.
forty, the caller cries out "alle due," and the
count is carried back on both sides to thirty.
As each point is made, it is shouted by the caller,
who stands in the middle and keeps the count,
and proclaims the bets of the spectators;
and after each game" si passa
is taken, the two sides changing position.
This game is as national to the Italians as
cricket to the English; it is not only, as it seems
to me, much more interesting than the latter,
but requires vastly more strength, agilty, and
dexterity, to play it well.

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-or an over

Story cites some of the places where it

or now perhaps was-played: Rome, near the summit of the Quattro Fontane, in the Barberini grounds; the Piazza di Termini ; the Tempio della Pace; the Colosseo (at the first the strict game, apparently played by professionals; the others a less strict game)-Florence, outside the Porta a Pinti-Siena, under the fortress wall.

Story gives the inscription under the bust of a famous player in the walls of the amphitheatre at Florence :

Josephus Barnius, Petiolensis, vir in jactando repercutiendoque folle singularis, qui ob robur ingens maximamque artis peritiam, et collusores ubique devictos, Terræmotus formidabili cognomento dictus est.

No date is given. The amphitheatre means, I believe, the court where Pallone is played. The season for the game appears to be or to have been after the middle of May, through the summer.

Other games, described in the same The points of the game are fifty, the first two chapter (vi.), are Morra, Pillotta, Bocce or Boccette, and Ruzzola.

strokes counting fifteen each, and the others ten each. When one side makes the fifty before the

ROBERT PIERPOINT.

PRINCIPAL LONDON COFFEE-HOUSES, TAVERNS, AND INNS IN THE EIGHTEENTH CENTURY.

(See 12 S. vi. and vii. passim; ix. 85, 105, 143, 186, 226, 286, 306, 385, 426, 504, 525; x. 26.) (An asterisk denotes that the house still exists as a tavern, inn or public-house

Temple Punch House

-in many cases rebuilt.)
Near Hare Court, Temple
Strand

1744 General Advertiser, March 15.

London Museum :
Wilson (A22123).

Thatched House

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sketch by J. T.

1744 Levander, A.Q.C., vol. xxix., 1916. Hogarth's Four Stages of Cruelty,'

plate 2.

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1708

'New View of London,' i. 82.

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BLUEBEARD: ORIGIN AND EARLY RE- Oriental, and this is supported by par FERENCES.-The N.E.D.' describes Blue- mime presentations. I know no defi beard as a personage of popular mytho- source for this. There is a "Blue Kin logy," and the first quotation it gives is of the Djinns in the Arabian Nigh from De Quincey in 1822. I can see noth- (Lane and Lane-Poole's ed., 1906, vol. ing about the story in the books of folk- p. 319), but the story is not one of th lore I have consulted, and am curious to generally familiar. The blue beard certai know whether it is French or English in looks foreign, and a leaning towards po origin, or Oriental. I suppose that the gamy may have led to an Oriental ascriptio 'Histoire ou Contes du Temps Passé of also the fact that the Turk has been Charles Perrault (1697), including Blue- centuries a traditional villain, a survi beard' among several famous fairy stories, in culture, I suppose, from the time of is one main source of the legend, but the Crusades. A dyed beard might be in 'N.E.D.' says nothing of a French origin. cated. A course of dissipation made It looks like a satire on the matrimonial wife-killer's beard white, and he wished choices of Henry VIII. Brewer, Dic- simulate youth by making it black. Eit tionary of Phrase and Fable,' writes the dye was blue-black or turned blu Holinshed calls Giles de Retz, Marquis de just as in a recent case in the courts an Laval, the original Bluebeard." But if fortunate lady complained of hair wh Holinshed had used the last word, I presume turned gold and green. Anyway, the b that the N.E.D.' would not have missed beard seems to me odd, and might be a hi it. References in English can surely be to someone who knows much more than I carried back further than De Quincey. Here is one from Boswell, 'Life of Johnson,' 1772. In a discussion on friendship year between those who disagree on a capital point, Goldsmith is reported as saying to Johnson :

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"But, Sir, when people live together who have something as to which they disagree, and which they want to shun, they will be in the situation mentioned in the story of Bluebeard: You may look into all the chambers but one.'

The ordinary idea is that the tale is

BAGSHOT AND

W. H. J. Coach and Mail in Days of Yore,' in quoti BAWWAW.-In Sta Taylor the Water Poet's account of a jo ney by coach from London to Southampt in which the travellers pass Bagshot a Bawwaw, it says the latter place is not plained by scrutiny of maps. The clue is Harl. 6494, p. 129ff., A Journey into t West of England in 1637.' In this al the travellers come to Bagshot and Bow

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