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NOTES ON BOOKS :— Dictionary of National Biography, Vol. LXI.-Ward's 'The Bride's Mirror-Leland's Un published Legends of Virgil'-Blew's 'Racing.' Notices to Correspondents. Hotes. MR. DILKE ON JUNIUS. WHEN Notes and Queries recently celebrated its Jubilee, Mr. Merton Thoms most courteously offered for publication some of the letters which Mr. Dilke had written to his father. One of them will be of much interest to the readers of 'N. & Q.' While Mr. Dilke edited the Athenæum, he wrote many reviews of books concerning Junius, which were collected and published in 1875 by his grandson, Sir Charles W. Dilke, with the title Papers of a Critic. I read these papers not only with interest, but profit, and with pardonable gratification that the view which I had formed of Francis and Junius, and made public in 1874 in my Wilkes, Sheridan, Fox,' had been formed without knowing what Mr. Dilke had written long before. Since then I have never ceased regretting that Mr. Dilke did not live to read the facts which have been made public and which confirm his inferences. The chief point in Mr. Dilke's letter is the phrase "I never was a hunter after Junius." For that reason he was the better critic. The writer who has his own Junius makes light of the evidence in support of claims put forward on behalf of other men. Quite unconsciously he ceases to be a critic and becomes an advocate. The late Mr. Hayward, who, like Mr. Dilke, was a vigorous and skilful opponent of the theory concerning Francis, had no Junius to offer for acceptance or scorn. In the Athenæum for 9 April, 1898, I ventured to write that I did not care who wrote the letters signed "Junius," my selfimposed task of demonstrating that Mr. Dilke and Mr. Hayward were justified in their conclusions as to Francis having then been accomplished. It may help some readers of Mr. Dilke's letter to explain his reference to Mason. In a review of the correspondence of Horace Walpole and Mason which appeared in the Athenæum for 17 May, 1851, Mr. Dilke amused himself, as he phrased it, by speculating either alone, or in concert with Walpole, whether the author of The Heroic Epistle,' might not have written the letters signed "Junius." He may not have known that Walpole had satisfied himself that Junius was Wolfran Cornwall, who died in 1789 while Speaker of the House of Commons. Horace Walpole's 'Hints for discovering Junius' appeared in facsimile in the Athenæum for 24 January, 1891. Neither can Mr. Dilke have known that Mason's handwriting does not resemble the Junian hand in any particular. Mr. Dilke hints in the following letter that he "could perhaps throw out other and even better speculative possibilities." I have been told on excellent authority that Mr. Dilke considered George Steevens as a possible Junius. 76, Sloane Street, Friday. MY DEAR SIR,-They sent up last night from Wellington Street the 'Critical Memoirs,' for which I am greatly obliged. It is not, I fear, in the remotest degree probable that the twelvemonth will enable me to solve the Junius mystery-for many reasons, one being allsufficient, I never was a hunter after Junius. You will be surprised at my saying so, but it is the fact. I have always, in my idle way, been a curious inquirer into two or three periods of our historythe last and worst the early part of the reign of the accuracy and truthfulness of the edit. of 1812, 14, George II., and thus, incidentally, I was led to test of J.'s Letters. Some papers which Sir Harris Nicolas wrote for the Athenæum, and in which he assumed all true, led to a discussion, and he thought it better to stow them away until he had leisure to examine critically. This was only "labouring in my vocation." Subsequently circumstances made me seek the numbing influences of a pursuit that occupied the mind without exciting it, and I renewed my *The death in 1850 of Mrs. Dilke.-CHARLES W. DILKE. examination of edit. 1812, 14, and other people's speculation on that edition. The utmost I have ever heard hazarded was in the paper on Mason, and it amounted only to this. C. W. DILKE. WAS SHAKESPEARE MUSICAL? to THE editor of the "Pitt Press Shakespeare for Schools" (Mr. A. W. Verity, M.A.) thinks so in his notes to 'King Richard II.' (1899). He says: 66 solid ground; but to deduce the inference Music do I hear? Ha, ha! keep time: how sour sweet music is, How sweet the moonlight sleeps upon this bank! and yet be utterly devoid of music. If a Again, that music is a powerful and necessary adjunct to the complete enjoyment and set-off of a dramatic piece is outside discussion. Shakespeare was practical enough to recognize this, and accordingly made proWhen Mr. vision for its introduction. on the stage, Verity, then, further says that especially in pathetic scenes, a musical accompaniment almost always adds charm," But a I am thoroughly at one with him. sensible recognition of this factor in dramatic success no more argues a musical education or talent than the possession of a Once Stradivarius or a Sternberg does. more, that "music is a great feature in modern representations of Shakespeare" no one can reasonably question; without it, No one can doubt that Shakespeare himself had in fact, even the elaborate staging of the a great love of music, and considerable knowledge plays by Irving and Benson would lack suppose, the scientific know-three-fourths of its attractiveness. too; though not, surely this is a poor plea for the poet's ledge of it that Milton had." His "great love of music" I do not im-siderable knowledge" of music. Never was peach; but I very much question his "consider- a weaker defence of a lost cause. In venturable knowledge" of it. Mere allusions-and ing thus to arraign Mr. Verity at the bar of they are copious, as every one knows-to it, historical accuracy, I am not conscious of the as appreciation of it, hardly constitute a proof remotest wish to undervalue his excellent of a practical acquaintance with any musical labours as editor of the "Pitt Press Series," -to shift instrument, nor even of a knowledge of the still less of a desire to belittle "the poet of technique of the art. It is mere supposition all nations and the idol of his own" (and a somewhat strained one) to argue other- an allusion from Moore's shoulders to those wise. That the poet used music in the per- of Shakespeare. Good work, like virtue, is formance of his plays is a more reasonable its own reward, so is sound scholarship; all conjecture, and quite another question. the more reason why, whilst those receive When, therefore, Mr. Verity states that their due appreciation, unsupported state"Shakespeare's use of music is a suggestive ments should be sternly pilloried. As subject of study," he is, in my judgment, on for Shakespeare, the denying to him one But con accomplishment in no wise dims the transcendent brilliancy of his many others. I am simply and solely holding a brief in the interests of "whatsoever things are true and until Mr. Verity can adduce better proof than mere assertion of Shakespeare's musical knowledge, I shall continue to believe that he was, so far as direct evidence is concerned, entirely ignorant in that line. The efforts made of late years to make him a master of everything to which he has referred have something of the reductio ad absurdum in them. Because he frequently refers to archery, Mr. Rushton (Shakespeare an Archer') forthwith turns him into an archer; because he often uses legal terms the same author (Shakespeare a Lawyer') incontinently makes him a lawyer; because he writes of "sweet music" "Mr. Verity would have us believe he was musician; because his pages bristle with passages about bees and glow worms he is an entomologist, though his numerous and glaring blunders anent those insects give him less claim to that than to the other titles. Clearly Shakespeare, or any man of wide reading and observation, could be generally conversant with all four without actually being any one of them. Macaulay can scarcely be considered a soldier, though he is the author of the 'Battle of Ivry, nor Kipling a sailor because he wrote 'A Fleet in Being. But enough. Shakespeare's knowledge, like Gladstone's, was encyclopædic; but it is surely the Ultima Thule of bathos to hoist him into the professorial chair of every branch of it, or at least to credit him with a proficiency which he himself would be the first to repudiate. J. B. McGovern. St. Stephen's Rectory, C.-on-M., Manchester. THE MURDER OF THE EMPEROR PAUL OF RUSSIA. a THE accompanying account of the murder of Paul I. of Russia is taken from 'Étude Critique du Matérialisme et du Spiritualisme par la Physique Expérimentale,' by the wellknown writer and chemist Prof. Raoul Pictet, of the University of Geneva, published two years ago. The interest of the historical event in question, and the fact of the work in which the narrative appeared being probably unknown to many readers of N. &Q, may justify its insertion in that valued periodical whose jubilee has just been celebrated so worthily: I am about to relate an historical event which was told me by an eye-witness of the assassination of the Emperor Paul I. of Russia on 15 Jan., 1804. This witness was one of my aunts, who died at the advanced age of ninety-three years in 1869, having preserved the fulness of all her intellectual faculties until that extreme old age. As a young lady of the Sievers, she had been admitted into the palace in Livonian nobility, having been born Countess the capacity of one of the empress's maids of honour. The last few months of the Emperor Paul's reign were signalized by eccentricities verging on madness. This monarch, whose brain was turned by his absolute power, ordered carriages and sledges to be stopped in the streets, and obliged all his serfs, lords, nobles, and villains to alight on the carriageroad and kneel before him as he passed! In short, those about him determined to obtain his abdication by fair means or foul. Some days before the execution of the palace plot my aunt noticed some uneasiness at the drawing-rooms and during the receptions. Various sentences exchanged in a low tone, suspicious behaviour and secret conferences in corners of the rooms, did not escape her observation. The emperor, too, guessed that something was brewing against him, and appeared to be more reserved, as if on his guard. a The very evening of the crime there was grand court at the palace; all the official world and the diplomatic body were invited. The foreboding signs had become so evident that, about midnight, my aunt, who had retired to her rooms, which opened on to the long corridor of the Winter Palace, instead of going to bed, wrote a long letter to her father, who was at that time marshal of the Livonian nobility. She had half-undressed herself and sat writing at her table, with uncovered shoulders and jupon). About half-past one an unusual noise was wearing a short petticoat (les épaules nues et en simple heard in the corridor. This corridor, which was very long, traversed the palace from end to end, and terminated at the emperor's private apartments. Seized the taper which was on her table and opened her with emotion and fear, my aunt hurriedly took up chamber door. At the same moment Count Pahlen, the grand chamberlain, went by very agitated, and accompanied by four other nobles of the Court. What passed through my aunt's mind then no one can say; but this is her true story of what happened. I heard it more than twenty times at least during the two years I lived near to her at Paris in 1868-9, when I was studying at the Ecole Polytechnique and at the Sorbonne. My aunt loved to tell me this tragic adventure, which still moved her so much after sixty-four years that she never dared to write it down. "So I seized my taper, and, impelled by a force for which I cannot even now account, followed Count Pahlen and his four acolytes. Not one of them was astonished to see me following them thus in so unusual a costume. We walked a distance of about sixty yards to the emperor's chamber. The five men only exchanged gestures, not a word was uttered. Count Pahlen entered first without knockBehind him walked his colleague carrying a taper ing; he held in his hand a roll of white paper. in his hand; then all the others and myself entered. The Emperor Paul was seated at his table writing. Evidently he expected something and his suspicions were aroused. Count Pahlen first addressed him: 'We come, your Majesty, to ask of you, for the good of the country and your own, your abdication! Your health condemns you to retirement; all the physicians and we have arrived at the conclusion |