In Love's Labour Lost, Boyet calls Don Armado, A Spaniard that keeps here in court, A phantasme, a monarcho. Here too Sir Thomas is willing to palm Italian upon us. We should read, it seems, mammuccio, a mammet, or puppet: Ital. Mammuccia. But the allusion is to a fantastical character of the time." Popular applause," says Meres, "dooth nourish some, neither do they gape after any other thing, but vaine praise and glorie,-as in our age Peter Shakerlye of Paules, and MONARCHO that liued about the court." P. 178. I fancy, you will be satisfied with one more instance. "Baccare! you are marvellous forward," quoth Gremio to Petruchio in the Taming of a Shrew. "But not so forward," says Mr. Theobald, "as our editors are indolent. This is a stupid corruption of the press, that none of them have dived into. We must read 66 Baccalare, as Mr. Warburton acutely observed to me, by which the Italians mean, Thou ignorant, presumptuous man."-" Properly, indeed," adds Mr. Heath, a graduated scholar, but ironically and sarcastically, a pretender to scholarship." This is admitted by the editors and critics of every denomination. Yet the word is neither wrong, nor Italian : it was an old proverbial one, used frequently by John Heywood; who hath made, what he pleases to call, epigrams upon it. Take two of them, such as they are : Backare, quoth Mortimer to his sow: Backare, quoth Mortimer to his sow: se Howel takes this from Heywood, in his Old Sawes and Adages and Philpot introduces it into the Proverbs collected by Camden. : We have but few observations concerning Shakespeare's knowledge of the Spanish tongue. Dr. Grey indeed is willing to suppose, that the plot of Romeo and Juliet may be borrowed from a COMEDY of Lopes de Vega. But the Spaniard, who was certainly acquainted with Bandello, hath not only changed the catastrophe, but the names of the characters. Neither Romeo nor Juliet ; neither Montague nor Capulet, appears in this performance: and how came they to the knowledge of Shakespeare?-Nothing is more certain, than that he chiefly followed the translation by Painter, from the French of Boisteau, and hence arise the deviations from Bandello's original Italian. It seems, however, from a passage in Ames's Typographical Antiquities, that Painter was not the only translator of this popular story and it is possible, therefore, that Shakespeare might have other assistance. In the Induction to The Taming of the Shrew, the Tinker attempts to talk Spanish and consequently the author himself was acquainted with it. : Paucus pallebris, let the world slide, sessa. But this is a burlesque on Hieronymo; the piece of bombast, that I have mentioned to you before: Mr. Whalley tells us, "the author of this piece hath the happiness to be at this time unknown, the remembrance of him having perished with himself:" Philips and others ascribe it to one William Smith: but I take this opportunity of informing him, that it was written by Thomas Kyd; if he will accept the authority of his contemporary, Heywood. More hath been said concerning Shakespeare's acquaintance with the French language. In the play of Henry V. we have a whole scene in it, and in other places it occurs familiarly in the dialogue. We may observe in general, that the early editions have not half the quantity; and every sentence, or rather every word, most ridiculously blundered. These, for several reasons, could not possibly be published by the author; and it is extremely probable, that the French ribaldry was at first inserted by a different hand, as the many additions most certainly were after he had left the stage.-Indeed, every friend to his memory will not easily believe, that he was acquainted with the scene between Catharine and the old gentlewoman; or surely he would not have admitted such obscenity and nonsense.. Mr. Hawkins, in the Appendix to Mr. Johnson's edition, hath an ingenious observation to prove that Shakespeare, supposing the French to be his, had very little knowledge of the language. "Est-il impossible d'eschapper la force de ton bras?" says a Frenchman." Brass, cur?" replies Pistol. "Almost any one knows, that the French word bras is pronounced brau; and what resemblance of sound does this bear to brass ?" Mr. Johnson makes a doubt, whether the pronunciation of the French language may not be changed since Shakespeare's time; "if not," says he, "it may be suspected that some other man wrote the French scenes:" but this does not appear to be the case, at least in this termination, from the rules of the grammarians, or the practice of the poets. I am certain of the former from the French Alphabeth of De la Mothe, and the Orthoepia Gallica of John Eliot; and of the latter from the rhymes of Marot, Ronsard, and Du Bartas.-Connexions of this kind were very common. Shakespeare himself assisted Ben Jonson in his Sejanus, as it was originally written; and Fletcher in his Two Noble Kinsmen. But what if the French scene were occasionally introduced into every play on this subject? and perhaps there were more than one before our poet's-In Pierce Penilesse, his Supplication to the Deuill, 4to. 1592, (which, it seems, from the Epistle to the Printer, was not in the first edition,) the author, Nash, exclaims, "What a glorious thing it is to have Henry the Fifth represented on the stage leading the French King prisoner, and forcing both him and the Dolphin to swear fealty!"-And it appears from the Jests of the famous comedian, Tarlton, 4to. 1611, that he had been particularly celebrated in the part of the Clown, in Henry the Fifth ; but no such character exists in the play of Shakespeare. Henry the Sixth hath ever been doubted; and a passage in the above-quoted piece of Nash may give us reason to believe it was previous to our author. "Howe would it haue joyed braue Talbot (the terror of the French) to thinke that after he had lyen two hundred yeare in his toomb, he should triumph again on the stage; and haue his bones new embalmed with the teares of ten thousand spectators at least (at seuerall times) who in the tragedian that represents his person, imagine they behold him fresh bleeding."-I have no doubt but Henry the Sixth had the same author with Edward the Third, which hath been recovered to the world in Mr. Capell's Prolusions. : It hath been observed, that the Giant of Rabelais is sometimes alluded to by Shakespeare and in his time no translation was extant.-But the story was in every one's hand. In a letter by one Laneham, or Langham, for the name is written differently, concerning the entertainment at Killingwoorth Castle, printed 1575, we have a list of the vul; gar romances of the age: "King Arthurz book, Huon of Burdeaus, Friar Rous, Howleglass, and GARGANTUA." Meres mentions him as equally hurtful to young minds with the Four Sons of Aymon, and the Seven Champions. And John Taylor hath him likewise in his catalogue of authors, prefixed to Sir Gregory Nonsence. But to come to a conclusion. I will give you an irrefragable argument, that Shakespeare did not understand two very common words in the French and Latin languages. According to the articles of agreement between the conqueror Henry and the king of France, the latter was to style the former, (in the corrected French of the modern editions,) "Nostre tres chier filz Henry roy d'Angleterre ;" and in Latin, " Præclarissimus filius," &c. "What," says Dr. Warburton, "is tres cher in French, præclarissimus in Latin! we should read præcarissimus."-This appears to be exceedingly true; but how came the blunder? it is a typographical one in Holinshed, which Shakespeare copied ; but must indisputably have corrected, had he been acquainted with the languages." Our said father, during his life, shall name, call, and write us in French in this manner :-Nostre tres chier filz, Henry roy d'Engleterreand in Latine in this manner, Præclarissimus filius noster." Edit. 1587, p. 574. To corroborate this instance, let me observe to you, though it be nothing further to the purpose, that another error of the same kind hath been the source of a mistake in an historical passage of our author; which hath ridiculously troubled the critics. Richard the Third harangues his army before the battle of Bosworth: Remember whom ye are to cope withal, "Our mother," Mr. Theobald perceives to be wrong, and Henry was somewhere secreted on the continent: he reads therefore, and all the editors after him, Long kept in Bretagne at his mother's cost. But give me leave to transcribe a few more lines from Holinshed, and you will find at once, that Shakespeare had been there before me :-" Ye see further, how a companie of traitors, theeves, outlaws and runnagates be aiders and partakers of his feat and enterprise.-And to begin with the erle of Richmond captaine of this rebellion, he is a Welch milksop-brought up by my moother's meanes and mine, like a captive in a close cage in the court of Francis duke of Britaine." P. 756. Holinshed copies this verbatim from his brother chronicler Hall, edit. 1548, fol. 54; but his printer hath given us by accident the word moother instead of brother; as it is in the original, and ought to be in Shakespeare. I hope, my good friend, you have by this time acquitted our great poet of all piratical depredations on the ancients, and are ready to receive my conclusion.-He remembered perhaps enough of his school-boy learning to put the Hig, hag, hog, into the mouth of Sir Hugh Evans; and might pick up in the writers of the time, or the course of his conversation, a familiar phrase or two of French or Italian: but his studies were most demonstratively confined to nature and his own language. In the course of this disquisition you have often smiled at "all such reading, as was never read;" and possibly I may have indulged it too far: but it is the reading necessary for a comment on Shakespeare. Those who apply solely to the ancients for this purpose, may with equal wisdom study the TALMUD for an exposition of TRISTRAM SHANDY. Nothing but an intimate acquaintance with the |