position? If the former, how is it appro- Shakespeare, the whole inscription is as clear with priate? Did not the heralds refuse his claim to the right of bearing arms? And did not Jonson himself ridicule his claim? If the latter, what evidence is there that he deserved it? Are there not indications in the known facts concerning him that he did not? Was he not litigious and a relentless creditor? And did not Jonson speak of his "saucy jests," and Greene of his "tiger's heart wrapped in a player's hide"? These matters seem contradictory, and give rise to the suggestion that Jonson had some one else in his mind when speaking of "the gentle Shakespeare." Who was it? Was it, as the Baconians say, Francis Bacon, who assumed the name of "Shakespeare," and wrote under it as a pen-name? If so, does not the meaning of the inscription become clear, and susceptible of the following paraphrase and interpretation (I assume that readers have the inscription before them or in their memory)? "The figure or portrait above was cut (engraved) and inserted here for (instead, or in the place, of) the Gentle Shakespeare (the Shakespeare of the following plays-Francis Bacon, who was 'gentle' both by birth and disposition). "In executing it the engraver endeavoured to produce a likeness more lifelike than nature. "O could he have drawn his wit (the Gentle Shakespeare's) as well in brass as he has hit his face (the features of the other), the print would have surpassed in beauty any engraving before produced. the ordinary interpretation as without it-clearer, indeed, since "his" has not to refer to two different persons in one sentence.] WEEPER IN THE HOUSE OF COMMONS. In that very curious book 'The Court of Cacus,' VERSES: AUTHOR WANTED.- awaye latter daye. The... to invite the great god sent a starre, Who though they run the waie (?) of sin and dye, This verse, with some riming proverbs in the same handwriting (early seventeenth century), is on a fly-leaf of a copy of Philip Barrough's 'Method of Phisick,' R. Field, 1596. I send it to ask if it is known. 37, Belvoir Street, Leicester. H. H. PEACH. "STICKPENNY." - In 1601 all the inhabitants "But, since he cannot (or could not), Reader, of Cawston, Norfolk, had rights of pasture look (for that wit) not at his picture (the Stratford man's picture), but his book ('the Gentle Shakespeare's' book)." Now, I do not think I should have ven on the common, or Common Bruery, for all where it is stated that they gave lod. yearly JAMES HOOPER. tured to make these inquiries and sugges tions, but that I see the view taken by a recent writer, Mr. Pitt-Lewis, K.C., a wellknown authority on the law of evidence, who, moreover, places side by side on the cover of his book (The Shakespeare Story') the portraits of "Shakespeare" and Bacon, by way of contrast, and, as it were, of antithesis, pointing out that round the latter is printed the legend, "Si tabula daretur digna animam mallem" the text, as it would seem, of Jonson's reflections on and under the other. the statement that the eldest son of the Arch All these things seem to me perplexing, and I see no way out of my perplexities at present except through the Baconian heresy. Can any readers of N. & Q.' save me from the consequences? JOHN HUTCHINSON. Middle Temple Library. [1. "Gentle" means of a character appropriate to days a traditional term of compliment. In these birth; the 'N.E.D.' anything heraldic in "Gentle shepherd, tell me where"? 2. Unless this adjective is unsuitable to RUPERT AS A CHRISTIAN NAME. - The Tatler of 26 Oct., 1904, had a picture of the German Crown Prince and a small boy. Beneath is a note of the family of the King of Bavaria, and duchess Maria Theresa of Austria-Este "bears the fine old Stuart name of Rupert." I always thought Rupert was a German name, and I shall be glad if any one can tell me if any of the kingly house of Stuart ever had such a Christian name, except Rupert-Prince Palatine-who can hardly be called a Stuart. Ordinary information is one matter, but historical accuracy is a necessity. was in HERBERT SOUTHAM. 1 Beplies. THE ENVIED FAVOURITE. (10th S. ii. 505.) ALL students of folk-lore will be grateful to MR. KUMAGUSU MINAKATA for furnishing what is apparently the earliest version of the incident which may be termed 'The Foul Breath' occurring in the above well-known story. The following references to various Eastern and Western sources I give from a collection of notes made for a work on the subject of the origin and diffusion of the tales in Boccaccio's 'Decameron,' which I hope may some day see the light, and which may perhaps be useful to the readers of 'N. & Q.' The incident is found in the old 'Conte Dévot,' 'D'un Roi qui vouloit faire brûler le Fils de son Sénéchal,' which is printed by Meon in his 'Nouveau Recueil de Fabliaux et Contes Inédits des XII., XIII., XIV., et XV. Siècles,' 2 vols., Paris, 1823, vol. ii. p. 331, and of which an abstract is given by Legrand in his 'Fabliaux ou Contes,' &c., third ed., 1829, vol. v. p. 56. Here the master of the king's sons causes enmity with the king, who has adopted the son of the seneschal, by telling the youth that the king complained of his breath, and that when he served the king he must turn his head. He does so, and the king, noticing his altered demeanour, asks of the master the cause; he is informed that the youth is obliged to do so owing to his (the king's) offensive breath, as the youth alleged. The king accordingly resolves to have him burnt to death, &c. English Text Society, and is also given in Latin in Oesterley's edition of the 'Gesta,' where it is No. 283, appendix dix 87, p. 688, in the notes to which, p. 749, will be found a large number of parallels for which no space can be found here, and most of which relate, not to the particular incident of the offensive breath, but only to the story of the treacherous man who, seeking to encompass the death of some one else, is himself killed. It is also stated to be in the 'Summa Predicantia' of Bromyard, 'Invidia,' I. vi. 26, and in the 'Liber de Donis' of Etienne de Borbonne, the references to which I am unable at present to check. Clouston, in his 'Popular Tales and Fictions,' vol. ii. p. 444, states that it is in the 'Anecdotes Chrétiennes de l'Abbé Reyre'; and Douce, in his 'Illustrations,' &c., refers to the 'Patrañas de Timoneda,' pat. 17, and says it is reproduced by Minsheu in his address before his 'Spanish Grammar,' 1623. The above references I regret I am unable at the moment to verify. It also forms an incident in the 'Nugæ Curialium' of Walter Mapes, ob. 1182, De Contrarietate Parii et Lausi,' dist. iii. cap. iii. pp. 124-31 of the edition of that work by Wright, published for the Camden Society, 1850. It is told very shortly in 'Dialogus Creaturum,' dial. 120, of Nicolaus Pergamenus, an Italian physician of Milan, named Mayno de' Mayneri, born between 1290 and 1295. (See an article by Pio Rajna in the Giornale Storico della Litteratura Italiana, iii. i. x. 42, and afterwards published separately under the title of 'Intorno al Cosidetto Dialogus Creaturum ed al suo Autore,' Turin, 1888; see also p. lxxxiv of 'Exempla' of Jacques de Vitry, edited by T. F. Crane, 1890.) It is also found to the same effect in the old Italian collection of stories called the 'Cento Novelle Antiche,' but only in the edition of Borghini of 1572, where it forms the sixty-eighth. It does not occur in the edition of Gualterrazi, and was apparently taken by Borghini from 'Libro di Miracoli di nostra Donna' to make up the number of the 'Novelle' to 100. (See 'Le Novelle Vereins). Here it is told of the emperor's Antiche,' edited by Guido Biagi, Firenze, 1880, p. 245.) We also find it told of the Emperor Martin and his nephew Fulgentius in No. 98 of the English Gesta Romanorum,' of which an analysis will be found in Douce's 'Illustrations to Shakespeare,' p. 565 of the edition in one volume, 1839. The story itself may be found in the introduction to Swan's translation of the Latin text at p. 1 of the edition in one volume published in "Bohn's Library"; and it forms the seventieth of the English 'Gesta'as edited by Herrtage for the Early It will be found at p. 276 of the edition of "Die beiden ältesten lateinischen Fabelbücher des Mittelalters, des Bischofs Cyrillus Speculum Sapientiæ und des Nicolaus Pergamenus Dialogus Creaturum, herausgegeben von Dr. J. C. Th. Graesse," 1880 (Stuttgart, Litter. tailor, who says the barber complains of the emperor's breath when he is shaving the latter. The tale also belongs to the East, for it is the lady's twenty-second tale in the collection of tales called 'The Forty Vazirs of Sheykh-Zada' (p. 239 of the complete translation in English by E. J. W. Gibb, 1886). Here the king is told that his favourite courtier said that he had leprosy, in proof of which he would see that the courtier avoided the king's breath. The next day the courtier is given a dish flavoured with garlic, and told that when he approaches the king he must hold his sleeve to his mouth, as the king dislikes the smell of garlic. Similarly it is told of the King of Africa and his vezirs in Clouston's 'Persian Tales,' 1892, p. 49, taken from 'Mahbub al Kalub,' or 'Delight of Hearts.' Here also the king is told by a dervish that his vezir says he (the king) has foul breath, and the vezir is given a dish of garlic and told to keep at a distance from the king because he dislikes garlic. According to Clouston ('Popular Tales,' &c., vol. ii. p. 44), the tale is also found orally in North Africa in the 'Contes de la Kabillie' (Rivière's French collection). There is an Indian version given by Verniew in his 'The Hermit of Motee Jhurna, also Indian Tales and Anecdotes,' Calcutta, 1873 (Clouston's 'Persian Tales,' 124, and his 'Popular Tales,' &c., ii. 450). In this a fakir is told he must not approach his face too near the king when speaking to him as it is disrespectful, and the king is informed the fakir averts his face so that the king should not observe his drunken habits. she pointed out, and which she took at once and carried to her lover. This story, it may be mentioned, is one of those given by Wright in his 'Latin Stories' (Camden Society), although he does not mention Vitry as the author. The story of the extraction of the tooth by a ruse of the wife also forms the subject of the well-known "cycle" story, the framework of which is that three women find a ring or a jewel, and agree that it shall belong to the one that plays the best trick on her husband. In the 'Mambriano' of Francesco Bello, called "Il Cieco da Ferrara," who flourished at the end of the fifteenth century and the beginning of the sixteenth, it forms the trick of the second woman in canto xxv. stanza 7, canto xxv. stanza 92, and this is followed by Malespini in his 'Ducento Novelle,' part iii. No. 95. (See the excellent monograph on this subject, "Novelle del Mambriano del Cieco da Ferrara, esposte ed illustrate da Giuseppe Rua, Torino, Tori 1888," 105; also Liebrecht, Zur Volkskunde,' Heilbronn, 1879, p. 124 et seq.) It also occurs in a 'Favola' of Flaminion Scala ('Theatro delle Favole Rappresentative,' &c., Venezia, MDCXI., giornata xx., 'Li Duo Fidi Notari' (quoted by Rua, op. cit., 116). This cycle story has also passed into the popular fiction of Italy, and can be found in "Fiabe, Novelle e Racconti Popolari, raccolti ed illustrati da G. Pitre," Palermo, 1875, vol. iii. p. 255, No. clxvi., under the title of 'Li Tri Cumpari' ('The Three Gossips'), where it also forms one of the three tricks played by the women on their husbands. In all the above tales the incident forms part of the story of how it is sought to encompass the disgrace of a favourite. In the following it is a device of a wife to obtain, at her lover's bidding, a token from her husband as a proof of her affection for her lover. In this form it seems to be first found in the 'Exempla' of Jacques de Vitry, who was born before 1180, and died in 1240. The story is exempla ccxlviii., and according to the analysis given by Mr. Crane in his admirable edition of the 'Exempla,' published The story from Vitry bears a striking for the Folk-Lore Society in 1890, it is as likeness to the ninth of the seventh day of follows: A wicked woman, when she wished Boccaccio's 'Decameron,' where one of the to see her lover, used to tell her husband that promises made by Lidia to her lover Pyrrhus he was ill and must not leave his bed until was to obtain one of her husband's teeth, she returned. The husband believed every- which she accomplishes by telling his pages thing she said and obeyed her. One day to turn away their heads when serving him she told her lover that she was more fond as he disliked their bad breath, and then of him than of her husband. The lover telling the husband they did so on account demanded as the proof of this that she should of his bad breath caused by a decayed tooth. bring him her husband's best tooth. On her There is a Latin poem called 'Comedia return to her home she began to weep and Lidiæ,' which is attributed to Matthieu de feign sadness. When her husband asked her Vendôme (who flourished at the end of the what was the matter she said she did not twelfth century) and which is very similar dare to tell him. Finally she yielded to his to the tale in the 'Decameron,' as it conentreaties and told him she could not endure tains not only the above ruse of the wife, but his foul breath. He was surprised and also the other tests imposed on the wife grieved, and said, "Why did you not tell by her lover which are contained in the me? Is there any remedy for it?" She 'Decameron,' but which do not, however, replied that the only remedy was to have concern us here. It will be found printed in the tooth from which the offensive odour Edelestand du Meril, 'Poésies Inédites du proceeded extracted. He followed her advice, Moyen Age,' Paris, 1854, p. 350 et seq., from and had drawn advice, good and sound tooth, which a MS. in the Royal Library of Vienna, a No. 312. Du Meril says (p. 350), "The first verse prevents us from attributing it to any other writer" (i.e., than Matthieu de Vendôme). If this were so, it would seem to be unquestionably the source of Boccaccio's tale; but the ascription of it to Matthieu de Vendôme is, notwithstanding what Du Meril says, anything but certain, and until his assertion can be proved it seems far more likely that the poem was derived from Boccaccio than the reverse. It may, perhaps, be worth mention that there is a curious converse form of the story in Nicholai Pergami, 'Dial.,' 78 (p. 223 of the edition cited), where a young and virtuous wife does not tell her husband of his breath being offensive, as she did not know but that all men were alike in this respect. The story in this last-mentioned form will be also found, but in a more extended form, in the seventh of the Novelle Inedite di Giovanni Sercambi,' 'De Puritate' ("Collezione di Operette Inedite e Rara Pubblicata is to be found in 'Hieronyım. advers. Jovinium,' i. 27, which is quoted by Prof. Alessandro d'Ancona in his notes, p. 70, to the Athenœum at the time of its production, though the critic consistently spelt the librettist's name "Thackwray"; it will also be found dealt with under Barnett in Grove's 'Dictionary.' WALTER JERROLD. Hampton-on-Thames. BRIDGES, A WINCHESTER COMMONER (10th S. iii. 7). This Commoner, who was admitted in the autumn of 1837, was evidently distinct from William Thomas Bridges, the Scholar mentioned by MR. WAINEWRIGHT. Both boys appear on the school "Long Roll" dated 11 November, 1837, but unfortunately by their surnames only. The practice of printing Christian names as well as surnames on the Roll was not introduced until 1854. Н. С. SIR T. CORNWALLIS (10th S. iii. 29). - I have a most remarkable document, partly in print and partly in MS., dated "the last day of July," 1604, explaining in a most friendly manner how and why King James I. was to "Sir Charles Cornwallis Knight whom we have appointed to be our collector in our Countie of of Norfolk" to raise forced (?) loans della Libreria Dante in Firenze"); and it also horribly hard up. It appears to be a warrant above-mentioned edition of Sercambi. Waltham Abbey. A. COLLINGWOOD LEE. BIBLIOGRAPHICAL NOTES ON DICKENS AND THACKERAY (10th S. iii. 22). -The absence, noted by COL. PRIDEAUX, of reference to the opera of 'The Mountain Sylph' by writers on Thackeray, is owing to the fact that there is no occasion for any. The opera was written, not by William Makepeace, but by T. J., Thackeray. I have no knowledge of their relationship, or of the names represented by of 20l. each, to be repaid on 24 March, 1605. It is signed by Thomas Kerry, accepted rather like a bill by one Thos. Welch, and the receipt of the 20l. is signed Charles Cornwalys and dated 13 October, 1604. It is finely printed in court hand. EDWARD HERON-ALLEN. TARLETON, THE SIGN OF "THE TABOR," AND ST. BENNET'S CHURCH (10th S. iii. 7, 55).-As the distinguishing marks of Patch the fool were his fantastic costume and his bauble, so the wandering clown mounted his platform to the strumming of his tabor, from which he was inseparable. Hence the probabilities the initials. My information as to the point in question, namely, the connexion of W. M. are all in favour of the sign of Dick Tarleton, Thackeray with The Mountain Sylph, is actor and clown, having been "The Tabor" derived from my father-in-law, the late John and not "The Saba," although "The Saba" Barnett, who composed the music, and from is printed, I believe, in an early edition of the title-page of the pianoforte arrangement of the songs. Tarleton's 'Jests,' where, however, its point lessness compared with "The Tabor" FRANCILLON. suggests that it is a misprint for the latter. In the passage in 'Twelfth Night' quoted by QUIRINUS sus the clown's reply to Viola's question, "Dost thou live by the tabor?" imputes a second possible interpretation of the question, namely, "Dost thou live by [the sign of] the tabor?" Viola's real meaning having been "Dost thou gain thy living in the calling of which the tabor is the symbol?” In his interesting notes from The Carlton Chronicle scrap-book, COL. PRIDEAUX quotes "See Thwackaway's 'Mountain Sylph," and goes on to say that this opera has been ignored by writers on Thackeray. As I have pointed out in another place, it has been so ignored because it was the work not of W. M., but of T. J. Thackeray. The Mountain Sylph' -libretto by T. J. Thackeray and music by John Barnett-was produced at the English Opera-House (Lyceum Theatre) in August, 1834. The opera was highly praised in The ، St. Benet's Church, Gracechurch Street, was one of the twenty-nine City churches pointed out in 1854 for erasement. It was completed by Wren in 1685. Daniell, in his "London Churches,' says that the church stood at the corner of Fenchurch Street and Gracechurch Street. It was a living united with that of St. Leonard, Eastcheap. The church was curiously planned, like many others of Wren's churches, to fill every inch of an irregular site. J. HOLDEN MACMICHAEL. MARRIAGE SERVICE (10th S. iii. 7). -See the notes on matrimony, by the Rev. F. E. Warren, in the 'Prayer-Book Commentary for Teachers and Students, containing Historical Introduction, Notes on the Calendar and Services, together with Complete Concordances to the Prayer-Book and Psalter' (Society for Promoting Christian Knowledge). F. E. R. POLLARD-URQUHART. Castle Pollard, Westmeath. "Our The Rev. J. H. Blunt, in his 'Annotated Book of Common Prayer,' says (p. 261), English office" (for the solemnization of matrimony) "is substantially the same as the old Latin one"; and he gives, in parallel columns, the present service side by side with the Salisbury "Use," which it closely follows, with a portion here and there from the York "Use": an instance of the careful way in which the Prayer-Book was founded on ancient service books already in use in England. ERNEST B. SAVAGE, F.S.A. St. Thomas', Douglas. The greater part of our service of matrimony is taken from the unreformed service books, Use of Sarum and of York. Part of the opening address and the announcement beginning, , "Forasmuch as M. and N. have consented together in holy wedlock," were suggested by words of Hermann's 'Consultations,' mainly compiled by Melanchthon and Bucer, 1543. The Sarum Use was revised by St. Osmund, Bishop of Salisbury, about 1085, probably from Anglo-Saxon devotions. F. FABER-BROWNE. "The service is taken in substance from the old Office in the Sarum Manual, omitting the formal Benediction of the Ring, and the special form of the Nuptial Mass immediately following the service. In the old service the opening exhortation, the questions and answers, the words of betrothal, and the words on putting on the ring were always in English. Some of the hortatory portions are borrowed, as usual, from Hermann's 'Consultatio."" -Bp. Barry's 'Teacher's Prayer-Book.' See also 'The Old Service Books of the English Church,' by C. Wordsworth and H. Littlehales (Methuen, 1904), chap. ii., where specimens of the English portions of the old service are given. Libau, Russia. (Rev.) FRED. G. ACKERLEY. In reply to MR. C. S. WARD, I find that this comet was discovered in China. It was visible from 2 October to 12 December, 1580. The orbit was computed by Schjellerup. Perihelion passage, 28 November, 1580. Large eccentricity. Very long period; perhaps over 9,000 years. But, of course, the orbit may not be elliptical. J. ELLARD GORE. "AN OLD WOMAN WENT TO MARKET" (10th S. ii. 502; iii. 10). -This story has been dealt with previously in 'N. & Q., and the probable origin from "A kid, a kid!" in the Jewish service book pointed out in this and other journals. It is upwards of fifty years since I first heard this story of 'The Old Woman and the Pig which wouldn't go o'er th' Brig.' Until reading MR. WATSON'S contribution, I was not aware that it was a stile the pig wouldn't go over; and, indeed, before a pig could pass over a stile it would be necessary for it to have an acrobatic training. In the Derbyshire version it was a "brig" which the pig would not go over, and children were told that it was because of the "devil that was in it"! Indeed, the tale as I heard it when a child had a good deal of the uncanny about it, and I can remember that the folks of the villages in which I first heard the story were of the opinion that evil and good were matched against each other in it; though this was not said, but implied in their talk about it. The old woman had duly bought her pig, and had driven it home almost as far as the "brig" near her home, when the pig, piglike, refused to go any further, and began to head backwards. A dog coming near, she appealed to it, "Dog, dog, bite pig; pig wunner goo o'er th' brig, an' Ah shonner get home tonight!" Nothing was heard about her old man's supper, either in the first appeal or in any of the following requests to dog, stick, axe, fire, water, ox, butcher, rope, rat, cat, and man. It will be noticed that in the |