Читать книгу: «Notes and Queries, Number 73, March 22, 1851»
SUGGESTIONS FOR PRESERVING A RECORD OF EXISTING MONUMENTS
When, in the opening Number of the present Volume (p. 14), we called the attention of our readers to the Monumentarium of Exeter Cathedral, we expressed a hope that the good services which Mr. Hewett had thereby rendered to all genealogical, antiquarian, and historical inquirers would be so obvious as to lead a number of labourers into the same useful field. That hope bids fair to be fully realised. In Vol. iii., p. 116., we printed a letter from Mr. Peacock, announcing his intention of copying the inscriptions in the churches and churchyards of the Hundred of Manley; and we this week present our readers with three fresh communications upon the subject.
We give precedence to Miss Bockett's, inasmuch as it involves no general proposal upon the subject, but is merely expressive of that lady's willingness, in which we have no doubt she will be followed by many of her countrywomen to help forward the good work.
In your Number for Feb. 15th, I find Mr. Edward Peacock, Jun., of Bottesford Moors, Messingham, Kirton Lindsey, wishes to collect church memorials for work he intends to publish. If he would like the accounts of monuments in the immediate neighbourhood of Reading, as far as I am able it would give me pleasure to send some to him.
Julia R. Bockett.
Southcote Lodge, near Reading.
The second makes us acquainted with a plan for the publication of a Monumenta Anglicana by Mr. Dunkin,—a plan which would have our hearty concurrence and recommendation, if it were at all practicable; but which, it will be seen at a glance, must fail from its very vastness. If the Monumentarium of Exeter contains the material for half a moderate-sized octavo volume, in what number of volumes does Mr. Dunkin propose to complete his collection—even if a want of purchasers of the early volumes did not nip in the bud his praiseworthy and well-intentioned scheme?
Your correspondent Mr. Edw. Peacock, Jun, may be interested in knowing that a work has some time been projected by my friend Mr. Alfred John Dunkin of Dartford (whose industry and antiquarian learning render him well fitted for the task), under the title of Monumenta Anglicana, and which is intended to be a medium for preserving the inscriptions in every church in the kingdom. There can be no doubt of the high value and utility of such a work, especially if accompanied by a well-arranged index of names; and I have no doubt Mr. Peacock, and indeed many others of your valued correspondents, will be induced to assist in the good cause, by sending memoranda of inscriptions to Mr. Dunkin.
L. J.
Plymouth.
The following letter from the Rev. E. S. Taylor proposes a Society for the purpose:—
I for one shall be happy to co-operate with Mr. Peacock in this useful work; and I trust that, through the valuable medium of "Notes And Queries," many will be induced to offer their assistance. Could not a Society be formed for the purpose, so that mutual correspondence might take place?
E. S. Taylor.
Martham, Norfolk.
We doubt the necessity, and indeed the advisability, of the formation of any such Society.
Mr. Peacock (antè., p. 117.) has already wisely suggested, that "in time a copy of every inscription in every church in England might be ready for reference in our National Library," and we have as little doubt that the MS. department of the British Museum is the proper place of deposit for such records, as that the trustees would willingly accept the charge of them on the recommendation of their present able and active Keeper of the Manuscripts. What he, and what the trustees would require, would be some security that the documents were what they professed to be; and this might very properly be accomplished through the agency of such a Society as Mr. Taylor proposes, if there did not already exist a Society upon whom such a duty might very safely be devolved:—and have we not, in the greater energy which that Society has lately displayed, evidence that it would undertake a duty for which it seems pre-eminently fitted? We allude to the Society of Antiquaries. The anxiety of Lord Mahon, its president, to promote the efficiency of that Society, has recently been made evident in many ways; and we cannot doubt that he would sanction the formation of a sub-committee for the purpose of assisting in collecting and preserving a record of all existing monuments, or that he would find a lack of able men to serve on such a committee, when he numbers among the official or active Fellows of the Society gentlemen so peculiarly fitted to carry out this important national object, as Mr. Hunter, Sir Charles Young, Mr. J. Payne Collier, and Mr. Bruce.
Notes
ON THE WORD "RACK" IN SHAKSPEARE'S TEMPEST
As another illustration of the careless or superficial manner in which the meaning of Shakspeare has been sought, allow me to call attention to the celebrated passage in the Tempest in which the word "rack" occurs. The passage really presents no difficulty; and the meaning of the word, as it appears to me, might as well be settled at once and for ever. I make this assertion, not dogmatically, but with the view of testing the correctness of my opinion, that this is not at all a question of etymology, but entirely one of construction. The passage reads as follows:—
"These, our actors,
As I foretold you, were all spirits, and
Are melted into air, into thin air:
And, like the baseless fabrick of this vision,
The cloud-capp'd towers, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve;
And, like this insubstantial pageant, faded,
Leave not a rack behind."—Tempest, Act IV. Sc. 1.
As I have expressed my opinion that this is not at all a question of etymology, I shall not say more in reference to this view of the case than that "rack," spelt as in Shakspeare, is a word in popular and every-day use in the phrase "rack and ruin;" that we have it in the term "rack off," as applied to wine, meaning to take from the rack, or, in other words, "to leave a rack" or refuse "behind," racked wine being wine drawn from the lees; and that it is, I believe, still in use in parts of England, meaning remains or refuse, as, in the low German, "der Wraek" means the same thing. Misled, however, by an unusual mode of spelling, and unacquainted with the literature of Shakspeare's age, certain of the commentators suggested the readings of track and trace; whereupon Horne Tooke remarks:—
"The ignorance and presumption of his commentators have shamefully disfigured Shakspeare's text. The first folio, notwithstanding some few palpable misprints, requires none of their alterations. Had they understood English as well as he did, they would not have quarrelled with his language."—Diversions of Purley, p. 595.
He proceeds to show that rack "is merely the past tense, and therefore past participle, 
or 
, of the Anglo-Saxon verb Recan, exhalare, to reek;" and although the advocates of its being a particular description of light cloud refer to him as an authority for their reading, he treats it throughout generally as "a vapour, a steam, or an exhalation." But Horne Tooke, in his zeal as an etymologist, forgot altogether to attend to the construction of the passage. What is it that shall "leave not a rack behind?" A rack of what? Not of the baseless fabric of this vision, like which the "cloud-capp'd towers shall dissolve,"—not of this insubstantial pageant, like which they shall have faded,—but of "the cloud-capp'd towers, the gorgeous palaces, the solemn temples, the great globe itself." There is in fact a double comparison; but the construction and the meaning are perfectly clear, and no word will suit the passage but one that shall express a result common to the different objects enumerated. A cloud may be a fit object for comparison, but it is utterly inconsequential; while the sense required can only be expressed by a general term, such as remains, a vestige, or a trace.
I beg now to transcribe a note Of Mr. Collier's on this passage:—
"'Rack' is vapour, from reck, as Horne Tooke showed; and the light clouds on the face of heaven are the 'rack,' or vapour from the earth. The word 'rack' was often used in this way."—Coll. Shaksp., vol. i. p. 70.
Mr. Knight appears to incline to the same view; and regarding these as the two latest authorities, and finding in neither of them any reference to the question of construction, I naturally concluded that the point had been overlooked by the commentators. On reference, however, I found to my surprise, that Malone, for the very same reasons, had come to the same conclusion. Had Malone's argument been briefly stated by the "two latest and best editors," I should, of course, have had no occasion to trouble you with this note: and this instance, it appears to me, furnishes additional reasons for enforcing the principle for which I am contending; the neglect of it affecting, in however slight a degree, the sense or correctness of so important and frequently quoted a passage. For my own part, I should have thought that the commonest faith in Shakspeare would have protected any editor, whose avowed object it was to restore the text, from preferring in this instance, to the plain common sense of Malone, the more showy authority of Horne Tooke.
In my last paper I wrote,—"So far as quantity is concerned, to eat a crocodile would be no more than to eat an ox." You have omitted the negative.
Samuel Hickson.
ANCIENT INEDITED POEMS, NO. III
In my last communication on this subject, I forgot to remark on the strange title given to the monody on Mr. Browne. May I ask if the name of "Chorus" was thus indiscriminately applied at the time when the poem was composed?
The next poem that I shall give is copied from Harleian MSS., 367., art. 60., fol. 158. It is entitled—
"A VERTUOUS WOMAN
"When painted vice fils upp the rimes
Of these our last depraued times:
And soe much lust by wanton layes
Disperséd is; that beautie strayes
Into darke corners wheere vnseen,
Too many sadd berefts haue been.
Aduance my muse to blaze1 that face
Wheere beautie sits enthroand in grace.
The eye though bright, and quicke to moue,
Daignes not a cast to wanton loue.
A comely ffront not husht in hayre,
Nor face be-patcht to make it fayre.
The lipps and cheekes though seemely redd,
Doe blush afresh if by them fedd.
Some wanton youthes doe gaze too much
Though naked breasts are hidd from touch.
When due salutes are past, they shunn
A seconde kisse: yea, half vndone
Shee thinkes herselfe, when wantons praise
Her hande or face with such loose phraise
As they haue learnt at acts and scenes,
Noe hand in hand with them shee meenes,
Shall giue them boldnes to embalme,
Ther filthie fist in her chast palme.
Her pretious honners overlookes,
At her retires the best of bookes.
Whatsoeuer else shee doth forget
Noe busines shall her prayers2 let.
Those that bee good, shee prizes most,
Noe time with them shee counteth lost.
Her chast delights, her mind, aduance
Above Lot-games or mixéd dance.
Shee cares not for an enterlude,
Or idly will one day conclude.
The looser toungs that filth disclose
Are graueolencie to her nose.
But when a vertuous man shall court
Her virgin thoughts in nuptiall sort:
Her faire depor[t]ment, neyther coy
Nor yet too forward, fits his ioy,
And giues his kisses leaue to seale
On her fayre hand his faythfull zeale.
Blest is his conquest in her loue,
With her alone death cann remoue.
And if before shee did adorne
Her parents' howse, the cheerefull morne
Reioyceth now at this blest payre,
To see a wife soe chast soe fayre.
They happy liue; and know noe smart
Of base suspects or iealous heart;
And if the publike bredd noe feare,
Nor sadd alarms did fill ther care,
From goodnes flowes ther ioy soe cleere
As grace beginnes ther heauen heere."
The poem has no subscription, nor, from the appearance of the paper, should I say there had been one. The comparatively modern phraseology points to a late era. The poem is bound up with a quantity of John Stowe's papers, and I think is in his handwriting, upon comparing it with other papers known to be his in the same book. As it is my chief object (next to contributing to the preservation and publication of these ancient ballads) to obtain data regarding the anonymous productions of the earlier days of England's literature, any remarks, allow me to say, that other contributors will favour our medium of intercommunication with, will be much appreciated by
Kenneth R. H. Mackenzie.
[Our correspondent is certainly mistaken in supposing this poem to be in Stowe's handwriting. We have the best possible authority for assuring him that it is not.]
