« 上一頁繼續 »
never leave her for a moment; trust her no further than I can feel and see her.”
“THAN when I feel, and see her, no further trust her”—Than was formerly spelled iken; and we have to choose in this passage between than and then. Malone prefers then; but the sentence is comparative : I will trust her no further than I see her.
** — would I knew the villain, I would LAND-DAMN kim." “Land-damn" is probably one of those words which caprice brought into fashion, and which, after a short time, reason and grammar drore irrecoverably away. It perhaps meant no more than—"I will rid the country of him ; condemn him to quit the land,"-Joussox.
Warner, a popular contemporary poet, has a similar phrase-"country loutes land-lurch their lords"- which supports Johnson's conjecture. Farmer proposes reading, “ laudanum him" -i. e. poison him.
“ The second, and the third, nine, and some five"i. e. The second nine, and the third some five.
* The instruments that feer"-Leontes, at these words, must be supposed to take hold of Antigonus. "The instruments that feel" are his fingers.
" - nowght for APPROBATION But only seeing," etc. That required no other proof excepting sight, all other circumstances being complete.
cou in ter ria
of wh con spe
“ These dangerous, unsafe Lines ' the king"- This word has not been found in any other English writer; but it is used in old French for frenzy, lunacy, folly. A similar expression occurs in the Revenger's Tragedy," 1608: “I know it was but some peevish moon in him." In As You Like It, we have the expression, “a moonish youth.”
Scene III. "— Fie, fie! no thought of him”-i. e. “Of Polixenes, to whom the thoughts of Leontes naturally revert with. out naming him. Coleridge called this in his lectures, in 1815, an admirable instance of propriety in soliloquy, where the mind leaps from one object to another, however distant, without any apparent interval; the operation here being perfectly intelligible without mentioning Polixenes. The king is talking to himself, while his lords and attendants stand at a distance."--Collier.
“The rery thought of my revenges that way
Recoil u pon me : in himself too mighty,” etc. This passage is founded on a similar one in the novel of “ Dorastus and Fawnia:”—“Pavdosto, although he felt that revenge was a spur to war, and that envy always proffereth steel, yet he saw Egistus was not only of great puissance and prowess to withstand him, but also had many kings of his alliance to aid him, if need should serve; for he married the Emperor of Russia's daughter." Shakespeare has made this lady the wife of the Leontes of the play--not of the Polixenes; but it will be seen that Greene, the acknowledged classical scholar, exhibits as much indifference to chronology as the supposed illiterate dramatist.
“Less appear so in comFORTING your erils"-"Comforting" is here used, as Monck Mason observes, in the legal sense of comforting and abetting a person in any criminal action.
“A MANKIND witch"-In Junius's “Nomenclator," by Abraham Fleming, 1535, Virago is interpreted “A manly woman, or a mankind woman. Johnson as serts that the phrase is still used (in some English counties) for a woman violent, ferocious, and mischievous.
thou art WOMAN-TIR'D”—To be * woman-tird" is to be pecked by a woman. The phrase is taken from falconry, and is often employed by writers contempo
dir ent foli Sil of tor: mig und cor the to up Co
WO to L for say
NOTES ON THE WINTER'S TALE.
urther than rary with Shakespeare. &u, a Decais
À we have
Upon the engin' dr. Ma
- gire't to thy CROS!" " "rative: 1
man. Chaucer employa the world
"A calut"Call24,* setine pala
nired from calle, which Tyrwant to say
, to change r a short
calate, which Grey sps w sa BA
by country girls. In the time od Sihisper :
"And, LOZEL, there are ceridy pri lie es read. lozel," says l'erstega, in leis - Pescetax
qunterl by Reed, " is one that beth Korea
cast off his own gwad and welfare an minne Ree"
lewd, and careless of credit ad hany's
often uses the word. these
"Bo sure as the beard's cry2000
a ing is, " this heard is grey," but s lacs :
scene, has told us that twenty-tre round
the annotatora suppose that it is user interes
, or point at the beard of dream
, on the content
requests that it would please be the sizo of his poble men, whom he lette
of Delphos, there to inquire of the les 19,
whether she land committed debet. **. , conspired to paywon kiun with Tree
speare's Library," part i. [ 20.)
" Even to the guilt-i e, Eyeli
"SILENCI"-"The wond Silence direction in the first folio, without us S2355 entrance of the queen, etc. Tlus deoare
" ; | folio supplied merely by the ward [ex: es 1, Silence. The third and fourth bles
of the second. Malote and all the other 3: tors take Silence as an exclamatin d
might be; bat the printer of the fullu, ei i understand it
, and the editor of the kick correcting an obvious origen did but sentit the reading. The wond Sileset was prots
“With what encounter so uncurrent I
How he glisters
THOROUGH my rust !"
and how his piety explanation of the sentence :-" Hermione intends to
Does my deeds make the blacker!" say, 'Beloved as I was by you before Polixenes arrived,
“ This vehement retraction of Leontes, accompanied and deservedly so, I appeal to your conscience how it
with the confession of more crimes than he was sushas happened that I have had to struggle against so untoward a current as to appear thus before you in the
pected of, is agreeable to our daily experience of the character of a criminal.'
vicissitudes of violent tempers, and the eruptions of Strain is often used, in old poetry, for going awry,
minds oppressed with guilt." --JOunson. as Drayton describes a river"wantonly she strains in
“That did but show thee of a fool"-Theobald her lascivious course." The sense may then be, “In
would read soul for “fool ;" and Warburton, " that did what unusual interview have I so erred as to expose but show thee off a fool." I agree, with Coleridge, that myself to the appearance of guilt ?”
“ fool is Shakespeare's word," for the reasons he assigns. "That any of these bolder vices WANTED
"1. My ear feels it to be Shakespearian; 2. The inLess impudence to gainsay what they did," etc. volved grammar is Shakespearian show thee, being a "It is apparent that according to the proper, at least fool naturally, to have improved thy folly by inconaccording to the present use of words, "less' shonld be stancy;' 3. The alteration is most flat, and un-Shake more, or wanted' should be had. But Shakespeare is
spearian. As to the grossness of the abuse, she calls very uncertain in his use of negatives. It may be
him 'gross and foolish' a few lines below." This mode necessary once to observe, that, in our language, two
of speech was anciently quite common. negatives did not originally affirm, but strengthen the
" a devil negation. This mode of speech was in time changed, Would have shed water out of fire, ere done 't." bui, as the change was made in opposition to long cus- That is, a devil would have shed tears of pity, ere he tom, it proceeded gradually, and uniformity was not ob
would have committed such an action. tained but through an intermediate confusion."-John
"- for one 80 TENDER"--i. e. Tender in years. "My life stands in THE LEVEL of your dreams"-A
"All faults I make, when I shall come to know them. metaphor from gunnery: to stand in the level means to
I do repent." be the object at which direct aim is taken.
“ This is another instance of the sudden changes inci "I have got STRENGTH of limit"_“I know not dent to vehement and ungovernable minds," --JOHNSON well how strength' of 'limit' can mean strength to pass
“ – so long as nature the limits of the child-bed chamber; which yet it must
Will bear up with this exercise," etc.
Mr. Knight was the first to restore the original metre, "Mr. M. Mason judiciously conceives strength of
which, in the numerous editions of the last century, and limit to mean, the limited degree of strength which it is
the first thirty years of the present, were thus printed, customary for women to acqnire, before they are suf
without any reason assigned for it :fered to go abroad, after child-bearing."-STEVENS.
Shall be my recreation: so long as
Nature will bear up with this exercise, - FLATNESS of my misery'-—"That is, how low,
So long I daily vow to use it. Come
And lead me to these sorrows.
Knight justly remarks :-“ If the freedom and variety - thus repuls'd, our final hope
of his versification were offensive to those who had been Is flat despair.
trained in the school of Pope, let it be remembered that "- if that which is lost be not found”—This oracle,
we have now come back to the proper estimation of a
“ Enter ANTIGONUS, with the BABE"-So in the old without an heire," etc. Therefore, Shakespeare em
pies, which there is no reason for changing into child, ploved one of the later impressions : probably that of
as in most modern editions. 1609, the year before we suppose him to have com- " – and there thy CHARACTER"-By “character” is menced this play
meant the writing afterwards discovered with Perdita. ." Of the queen's SPEED"_“Of the event of the queen's “ A LULLABY too rough"-So in “ Pandosto:"_"Shalt trial: so we still say, he sped well, or ill.”—Johnson. thou have the whistling windes for thy lullabie, and the " Which you knew great, and to the hazard”—This
salt sea fome instede of sweete milke?"-(Shakespeare's line, in the folio of 1623, is deficient two syllables of
Library, part i. p. 18.)- These verbal resemblances the regular metre, and the editor of the folio of 1632
show that Shakespeare wrote, not only with Greene's supplied them by reading “certain bazard.” Malone
novel in his memory, but before him. pronounces certain of all words the "most objection
"- A sarage clamour? able," and supposes the lost word “to be either doubl- Well may I get aboard !--This is the chasc."
ful or fearful;" while Stevens urges that it is " quite This "clamour" was the cry of the dogs and hunters ; in Shakespeare's manner." We leave the line as it
then, seeing the bear, Antigonus exclaims, “This is the stands in the oldest and most authentic copy, and as, in chase," or the animal pursued. all probability, Shakespeare wrote it, metrical enough to the ear for dramatic dialogue, though not conforming “- a very pretty BARN"-"Barn” is still a Northto the regular blank-verse standard.
of-England word for child, as bairn is in Scotland.
to mark the suspense, that wag to be
I wond is not meant vart of the otherler
apou the stage, on the entrance of Heart
Thonghi agreeing with Mr. Colier agras original reading, I rather think tilat file to be understood as it here silence is promotion forto; as, in a pualled scene in Hear T says, "Let silence he commanded.
"-thPAETEECE #hereaf"- e Drejte tion; a usual sense of the wind in the
41 / weigh grief
, which I realt pas "Life is to me zor only grini
, sad us To 'pare asylting how ww granate stion of it,"_losseos
onsidered by me: I would therefore
“ – A BOY, or a child"-Stevens says that he is imita told, that, “in some of the inland counties of England, the a female infant, in contradistinction to a male one, is time still termed, among the peasantry, a child.'” This mode use of the word was clearly the meaning of Shake
tion: speare; but in none of the provincial glossaries can we find an authority for such an application. On the the t contrary, in all the ancient writers, childe means a mit i boy, a young man, and generally in some association
tion. with chivalry. Byron, in his preface to * Childe Harold," says :-" It is almost superfluous to mention that the appellation Childe,' as “Childe Waters,' • Childe Childers,' etc., is used as more consonant with
word the old structure of versification, which I have adopted."
irrer Nares observes upon the passage before us, that the of th expression “ « child' may perhaps be rather referred to ! the simplicity of the shepherd, reversing the common this, practice, than taken as an authority for it."
terin * — hor the sea FLAP-DRAGOXED il—The meaning not, is, that the sea swallowed the ship as drinkers swallowed
but v flap-dragons, which were alınonds, or other inflammable
1 substances set on fire, set afloat. and gulped down while Frent blazing. Thus Falstaff says of the Prince, " He driuks i, the ] candles' ends for tap-dragons."
"- a BEARING-CLOTH"-Percy explains this as "the fine mantle, or cloth, with which a cind is usually cov. ered when it is carried to the church w be baptized."
" - this is some CHANGELING"—Some child changed by the fairies. “Changeling" was oftentimes used sy- “I hi nonymously with idiot, because the fairies were sup
rather posed to leave idiots instead of the children they took retiret away.
"— they are never cirst, but when they are hungry”—“ Curst” signifies ill-tempered. Thus the adage: "Curst cows have short borns."
parts ACT IV.-CHORUS.
pressi “ — Impite it not a crime To me, or my swift passage, that I slide
FARM O’er sirteen years," etc.
In " This trespass, in respect of dramatic unity, will ap- of the pear venial to those who have read the once famous to rete Lily's • Endymion,' (or, as he himself calls it in the pale c prologue, his Man in the Moon.) Two acts of this
*D piece comprise the space of forty years; Endymion lying down to sleep at the end of the second, and waking in the first scene of the fish, after a nap of that un
prigg conscionable length. Lily has, likewise, been guilty
« IL of much greater absurdity than Shakespeare committed ; for he supposes that Endymion's hair, features, and
is frun person, were changed by age during his sleep, while all the other personages of the drama remained without alteration."-STEVENS.
velvet Malone states that, in the comedy of “Patient Grissel,” (by Decker, Chettle, and Haughton,) Grissel
Auto is in the first act married, and soon afterwards brought and la to bed of twins, a son and a daughter ; and the daugh.
for the ter, in the fifth act, is produced on the scene as a woman old enough to be married,
Dr. Johnson has thus commented on the dramatic unity of time:“By supposition, as place is introduced, time may be
and his extended. The time required by the fable elapses, for the most part, between the acts; for, of so much of the
tune, & action as is represented, the real and poetical duration
and p the sa
gives is the same. If, in the first act, preparations for war against Mithridates are represented to be made in Rome, the event of the war may, without absurdity, be represented in the catastrophe as happening in Pon- and og tus. We know that there is neither war nor prepara- dealer: tion for war; we know that we are neither in Rome to tors nor Pontus-that neither Mithridates nor Lucullus is theref before us. The drama exhibits successive imitations wether of successive actions; and why may not the second pounds
NOTES ON TUE WINTER'S TALE.
1 8413 that he is imitation represent an action that time ye nties of England, the fixat
, if it be so cmoected Photos Da male one, is ' time can be supposed to interes
child."** This modes of existence, wat deur de aning of Shake- tion: a lapse of years is seady opgeles, 1 glosaries can sage of beurs. Ils ontemplaban, a Lalion. On the the time of real actions; and, derisa
hulle means a mit i to be contracted when this .. une association tion." ce to Childe
*-) kane de ani. cas lo mention
Of dat ride orr, " "hilde Waters,
"Our other atterals per a bass consonant with wonis. The growth' of the voir hare arlopted." irregular; but he means, the gate or p , that the of the time which filed up the guys? hier referred to
tween Penina's birth and der finalit the common this groete awne)
, is n leke te wees teruedate gears united and meta
, the word whick borias I in swallowed but which is rbyzone roquired.-logos * matlamrahle!
- magiu s-, e lo dowy while
French idum, which Shakespeas - He driuks the TamiNG OF THE SEIX tal felé..
of sack, in Keng Hexzs IV, sark:this as "the It escada a into the ball, us juis cov: reputed."
Scexl. Heigl " - I have NWSINOLT RETT.
"I linse observed him at materials were soprather-Nissing him, I date noted this they took retired from court !
« dre don
In this sense we still retain the past vill ap- of the church, "a the pale of fashion," famous to retain that sense, with a rezne Paris! |
in the pale colours. of this
" Doth set my roccisa toated on what's con ls, and puggari, seem to have becei
shilling: what then will the wool of fifteen hundred that's for remembrance. There's rue for you; we may yield ?"
call it herb of grace." The qualities of retaining "Shakespeare has here brought his agricultural know- “ seeming and savour" appear to form the reason why ledge to bear. We have every reason to believe that these plants were considered emblematical of " grace he was a practical farmer; for, after he had bought his and remembrance." estate in Suratford-Fields, in 1602, we find him suing one Philip Rogers, for a debt of thirty-five shillings and
"- and streak'd GILLYFLOWERS"-Gillyvors, in the ten pence, for corn delivered. And, in 1605, he pur- folios, both here, when the word is spoken by Perdita, chased a moiety of the tithes of Stratford, which he and afterwards by Polixenes. Dyce insists that the old probably had to collect in kind. When he puts this spelling should be retained, as “an old form of the speech, therefore, in the mouth of the Clown, we may
word.' reasonably conclude that he knew, of his own expe
“In the folio edition it is spelled Gillyvors. Gelofer, rience, that the average produce of eleven wethers was or gillofer, was the old name for the whole class of a tod of wool; and that the value of a tod was a 'pound
carnations, pinks, and sweet-williams; from the French and odd shilling.' Ritson says, “It appears from Staf- girofle. There were also stock-gelofers, and wall-geloford's · Breefe Conceipte of English Pollicye,' 1581, that fers. The variegated gillyflowers, or carnations, being the price of a tod of wool was, at that period, twenty or
considered as a produce of art, were properly called two-and-twenty shillings; so that the medium price was nature's bastards, and being streaked white and red, exactly pound and odd shilling.'”—KNIGHT.
Perdita considers them a proper emblem of a painted The researches into the curious and important quesa
or immodest woman; and therefore declines to meddle tion of money prices, have shown that this was about
with them. She connects the gardener's art of varying the average price of the times. Wool, according to
the colours of these flowers, with the art of painting the our mode of estimation, was then worth eight pence
face-a fashion very prevalent in Shakespeare's time."sterling the pound.
" I'll not put "— THREE-MAN song-men all—i. e. Singers of songs in three parts, or for three men.
The dibble in earth to set one slip of them," etc.
" It has been well remarked of this passage, that Per"— MEANS and bases"_"Means" are tenours-inter dita does not attempt to answer the reasoning of Pomediate voices, between the treble and bass.
lixenes: she gives up the argument, but, woman-like, "- he sings PSALMS TO HORN PIPES"_" In the early
retains her own opinion, or, rather, her sense of right, days of psalmody, it was not unusual to adapt the pop
unshaken by his sophistry. She goes on in a strain of ular secular tunes to the versions of psalms, the rage
poetry, which comes over the soul like music and frafor which originated in France."-WARTON'S " Hislory
grance mingled: we seem to inhale the blended odours of Poetry."
of a thousand flowers, till the sense faints with their
sweetness; and she concludes with a touch of passion"— lo colour the WARDEN pics"_"Wardens' are a ate sentiment, which melts into the very heart.”—Mrs. large sort of pear, called in French poires de garde, JAMESON. because, being a late hard pear, they inay be kept very long. It is said that their name is derived from the
" From Dis's waggon! daffodils"— An epithet is Anglo-Saxon wearden, (to preserve.) They are now
wanted here, not merely or chiefly for the metre, but called baking-pears,"—NARES.
for the balance, for the æsthetic logic. Perhaps golden
was the word, which would set off the violets dim.' “A fellow sir, that I have known to go about with COLERIDGE. TROL-MY-DAMES”—Probably a corruption of the French
- violets dim, term, trou madame. The game much resembles that
But sweeter than the lids of Juno's eyes," etc. called bagatelle. The Old English title of this sport
" Johnson had not sufficient imagination to comprewas pigeon-holes, as the arches in the machine, through
hend this exquisite passage: he thought that the Poet which the balls are rolled, resembles the cavities inade for pigeons in a dove-house.
had mistaken Juno for Pallas, and says, that 'sweeter
than an eyelid is an odd image!' But the eyes of Juno "- it will no more but ABIDE"-i. e. It will do nu were as remarkable as those of Pallas, and more than remain there for a time.
- of a beauty never yet
Equalled in height of tincture. " – 2 Motion of the prodigal son"-A "motion" The beauties of Greece and other Asiatic nations tinged was technical for a puppet-show, of which the history their eyelids of an obscure violet colour, by means of of the prodigal son was here the subject.
some unguent, which was doubtless perfumed like " — merrily went the stile-a"-i. e. Take hold of.
those for the hair, etc., mentioned by Athenæus. Hence
Hesiod's phrase, in a passage which has been renSCENE III.
- Her flowing hair and sable eyelids "- goddess-like PRANK'D Up-i. e. Dressed splen
Breathed enamouring odour, like the breath didly, decorated.
Of balmy Venus.
Shakespeare may not have known this; yet of the beauty “- I should blush
and propriety of the epithet 'violets dim,' and the To see you so attired, sworn, I think,
transition at once to the lids of Juno's eyes, and CytheTo show myself a glass."
rea's breath, no reader of taste and feeling need be rePerdita probably means, that the prince, by the rus- minded.”-SINGER. tic habit le wears, seeins as if he had sworn to show her as, in a glass, how she ought to be dressed, instead
"— makes her blood look out"-The old and possiof being "go goddess-like pranked up;" and were it bly the true reading is look on 't, wbich Collier retains, not for the license and folly which custom had made
as meaning that Camillo observes that Florizel tells familiar at such feasts as that of sheep-shearing, when
Perdita something that makes her blood come into her mimetic sports were allowable, she should blush to see
cheeks to look on it." him so attired.
“To have a WORTHY FEEDING"-A“worthy feeding" “For you there's rosemary, and rue; these keep seems to mean a tract of pasturage, not inconsiderable,
Seeming and savour all the winter long,” etc. which the old shepherd considers not unworthy of his Ophelia distributes the same plants, and accompanies supposed daughter's fortune. them with similar expressions :—“There's rosemary; * — Fapings"--The "fadings" was a dance. Ma
raking the same meaning with the madera de
and le all hout
prigging-i. e. thuering, or cheakan
"Wild heick! witgekian"-The father with heigh!" the repotizie, restaury 12 in from the second folio
"-in my time, vore TASE-FILE=LC velvet-velret of the richest kind.
"- then the bite builds, inak to low ight
Autolycus means that his practice any sen and inrge pieces of “linen,
' leaving the 1st for the kites' to build with."-M. Muret,
- for the life to come, I alump out de bo tic
'—" Fine as this is, and delicately charms
ose who had lived and been record in he? be and had been precipitated from it by dissi's
in the snapper-up of ancosktered the
dealers in wool. Thus, they say, "Times to to fifty pounds of wool,' dic 12
therefore, of the Clown's words
wethers inds-i. e. will produce and pounds of wool-esery tai siells a pond
lone quotes a song from "Sportive Wic," (1666,) which in the for implies that it was a rustic dance:
in the se The courtiers scorn us country clowns,
speare al We country clown do seurn the court;
which cor We can be as merry upon the downs
from 1623 As you at midnight with all your sport, With a fading, with a fading.
Sherret, u It appears, from a letter in Boswell's edition of “Ma- 10th of M lone,” that it was an Irish dance, and that it was prac- * - the tised, upon rejoicing occasions, as recently as 1803, the
says Malo date of the letter:
them the * The dance is called Rinca Faça, and means, lite
explanatio rally, the long dance.' Though faed is a reed, the
says after name of the dance is not borrowed from it; fada is the
"jumps tv adjective, long, and rinca the substantive, dance.' In
stage-direc Irish the adjective follows the substantive, differing from ** Here ad the English construction : hence, rinca fada. Faeden is only the is the diminutive, and means little reed: faeden is the first person of the verb to whistle, either with the lips, or with a reed-i, e. I whistle.
esquierre. “ This dance is still practised, on rejoicing occasions, " that in many parts of Ireland. A king and queen are chosen blasts. from among the young persons who are the best danc
* -thou ers; the queen carries a garland, composed of two
vens omits hoops, placed at right angles, and fastened to a handle; the hoops are covered with flowers and ribands: you
duplication have seen it, I dare say, with the May-maids. Fre
at the tine quently, in the course of the dance, the king and queen “-IN lift up their joined hands as high as they can, she still Perdita is 1 holding the garland in the other. The most remote quite aston couple from the king and queen first pass under: all the not become rest of the line, linked together, follow in succession. of mind to When the last has passed, the king and queen suddenly become her face about, and front their companions. This is often
Wil repeated during the dance, and the carious undulations
than exquis are pretty enough, resembling the movements of a serpent. The daucers, on the first of May, visit such
nature of a
a momenta newly-wedded pairs, of a certain rank, as have been
rizel :married since last May-day, in the neighbourhood; who commonly bestow on them a stuffed ball, richly decked with gold and silver lace, and accompanied with a « Where present in money, to regale themselves after the dance. of the buri: This dance is practised when the bonfires are lighied the custom up, the queen hailing the return of summer in a popular in the form Irish song, beginning
water. Thuga mair sein lu soure ving.
*- hy me We lead on summer-see! she follows in our train."
word **func "- fadings,' jump her and thump her'”The
and authors burdens of old songs and ballads, mentioned in writers
*- at e of the time.
« – he so chants to the SLEEVE-HAND, and the work the counci about the SQUARE onl”—The “sleeve-hand" was the speech, the cuff, or wristband; the “square" signified the work about the bosom.
ting in Yor “— POKING-STICKS of steel"_" Poking-sticks" were
“ But noi heated in the fire, and made use of to set the plaits of ciently mea ruffs. Stowe informs us, that “about the sixteenth ANTONY AN yeare of the queene (Elizabeth] began the making of steele poking-sticks, and untill that time all lawndresses used setting stickes made of wood or bone."
" She is i “ – Clamour your tongues”—“An expression taken from bell-ringing; now contracted to clam. The bells
The apostr are said to be clammed, when, after a course of rounds birth, infe or changes, they are all pulled off at once, and give a birth." general clash, or clam, by which the peal is concluded. As this clam is succeeded by a silence, it exactly suits
fumes, and the sense of the passage.”—NARES.
Mr. Gifford thinks, with Malone, that it is a misprint * - with for charm.
cographers, “ – a Tawdry lace”-It was sometimes only called
call a hubi a tawdry, and it was not used for lacing, but worn as
several wri an ornament for the head or neck.
“(For 1 " -- a fish, that appeared upon the coast”-In 1604, * For I do was entered on the books of the Stationers' Company, has been ch “A strange reporte of a monstrous fish, that appeared
old MS. co