84.  Amplified by Whitney, p. 108, Respice, et prospice, “Look back, and look forward.”

“The former parte, nowe paste, of this my booke,
The seconde parte in order doth insue:
Which, I beginne with Ianvs double looke,
That as hee sees, the yeares both oulde, and newe,
So, with regarde, I may these partes behoulde,
Perusinge ofte, the newe, and eeke the oulde
And if, that faulte within vs doe appeare,
Within the yeare, that is alreadie donne,
As Ianvs biddes vs alter with the yeare,
And make amendes, within the yeare begonne,
Even so, my selfe suruayghinge what is past;
With greater heede, may take in hande the laste.”

85.  We subjoin the old French,—

“Le Dieu Ianus iadis à deux visages,
Noz anciẽs ont pourtraict & trassé,
Pour demõstrer que l’aduis des gẽs sages.
Visé̩[e/]̩ au futur aussi bien qu’ au passé,
Tout temps doibt estré̩[e/]̩ en effect cõpassé,
Et du passé auoir la recordance,
Pour au futur preueoir en providence,
Suyuant vertu en toute qualité.
Qui le fera verra par euidence,
Qu’il pourra viure en grãd tranquillité.”

86.  The illustration we immediately choose is from Sym. cxxxvii. p. cccxiiii. of Achilles Bocchius, edition Bologna, 1555, with the motto—

“Ars rhetor, triplex movet, ivvat, docet,
Sed Præpotens est veritas divinitvs.
Sic monstra vitior, domat prvdentia.”
Rhetoric’s art threefold, it moves, delights, instructs,
But powerful above all is truth of heaven inspired.
So the monsters of our vices doth wisdom’s self subdue.

87.  See Les Emblemes de Maistre Andre Alciat, mis en rime françoyse, Paris, 1540.

88.  The device, however, of this Emblem is copied from Symeoni’s Vita et Metamorfoseo d’Ovidio, Lyons, 1559, p. 72; as also are some others used by Reusner.

89.  In Troilus and Cressida, act i. sc. 3, l. 39, vol. vi. p. 142, we read,—

“Anon beheld
The strong-ribb’d bark through liquid mountains cut,
Bounding between the two moist elements,
Like Perseus’ horse.”

90.  The description and quotations are almost identical with the Whitney Dissertations, pp. 294–6.

91.  See Whitney’s Fac-simile Reprint, plate 32.

92.  In the work of Joachim Camerarius, just quoted, at p. 152, to the motto, “Violentior exit,”—The more violent escapes, p. 99,—there is the device of Gnats and Wasps in a cobweb, with the stanza,—

“Innodat culicem, sed vespæ pervia tela est:
Sic rumpit leges vis, quibus hæret inops.”
“The gnat the web entangles, but to the wasp
Throughout is pervious; so force breaks laws,
To which the helpless is held bound in chains.”

93.  Thus to be rendered into symmetrical lines of English,—

“The Sun, the eye of heaven, with beams the world illumes,
And the pale Moon afar scatters black night.
So virtue, the soul’s sun, our pining senses illumes,
And genial faith dispels the darkness of the mind.
If virtue to the mind,—so leading the way to virtue shines
Faith in her purity: nothing can be brighter than this.
The golden splendour of virtue and faith, O Philip,
Throwing out beamings, shows to thee paths to the sky.
This in truth is the Sun of life, and the one Light-bringer,
This in truth the Moon which by shining drives away night.
While in thy mind these lights thou seest on high,—of the world
The darkness and terrors untrembling thou dost behold.
Sun and Moon and the Light-bringer flash light to their orbs,
And the while on thee shine, too, virtue and faith.”

94.  Of cognate meaning is Messin’s motto in Boissard’s Emblems, 1588, pp. 82–3, “Plvs par vertv qve par armes,”—Plus virtute quàm armis,—the device being a tyrant, with spearmen to guard him, but singeing his beard because he was afraid of his barber,—

“Et vuyde d’asseurance, il aymoit fier
La façon de son poil au charbon, qu’au barbier
Tant l’injustice au cœur ente de meffiance.”

95.  See Penny Cyclopædia, vol. xxi. p. 343, where the Pericles and eight other plays are assigned “to the period from Shakspere’s early manhood to 1591. Some of those dramas may possibly then have been created in an imperfect state, very different from that in which we have received them. If the Titus Andronicus and Pericles are Shakspere’s, they belong to this epoch in their first state, whatever it might have been.” See also Knight’s Pictorial Shakspere, supplemental volume, p. 119, where, as before mentioned, the opinion is laid down,—“We think that the Pericles of the beginning of the seventeenth century was the revival of a play written by Shakspere some twenty years earlier.”

96.  It may be mentioned that Paradin describes five other Roman wreaths of honour.

97.  Symeoni, in 1559, dedicated “All’ Illustrissima Signora Duchessa di Valentinois,” his “Vita et Metamorfoseo d’Ovidio,” 8vo, containing 187 pages of devices, with beautiful borders.

98.  “Nella giornata de Suizzeri, rotti presso à Milano dal Rè Francesco, Monsignor di San Valiere il Vecchio, padre di Madama la Duchessa di Valentinoys, e Capitano di cento Gentil’huomini della Casa del Rè, portò vno Stendardo, nel quale era dipinto vn torchio acceso con la testa in giù, sulla quale colaua tanta cera, che quasi li spegneua, con queste parole, Qvi me alit, me extingvit, imitando l’impresa del Rè suo Padrone: cio è, Nvtrisco et extingvo. È la natura della cera, la quale è cagione che ’l torchio abbrucia stando ritto, che col capo in giù si spegne: volendo per ciò significare, che come la bellezza d’vna Donna, che egli amaua, nutriua tutti i suoi pensieri, così lo metteua in pericolo della vita. Vedesi anchora questo stendardo nella Chiesa de Celestini in Lyone.”

99.  See Essays Literary and Bibliographical, pp. 301–2, and 311, in the Fac-simile Reprint of Whitney’s Emblemes, 1866.

100.  “Si pour esprouuer la fin Or, ou autre metaus, lon les raporte sus la Touche, sans qu’on se confie de leurs tintemens, ou de leurs sons, aussi pour connoitre les gens de bien, & vertueus personnages, se faut prendre garde à la splendeur de leurs œuures, sans s’arrester au babil.”

101.  See Symbola Diuina & Humana Pontificvm, Imperatorvm, Regvm, 3 vols. folio in one, Franckfort, 1652.

102.  This original drawing, with thirty-four others by the same artist, first appeared in Emblemata Selectiora, 4to, Amsterdam, 1704; also in Acht-en-Dertig Konstige Zinnebeelden,—“Eight-and-thirty Artistic Emblems,”—4to, Amsterdam, 1737.

103.  Or it may be a few years later. The drawings, however, are undoubted from which the above woodcut has been executed.

104.  This Emblem is dedicated to “George Manwaringe Esquier,” son of “Sir Arthvre Menwerynge,” “of Ichtfeild,” in Shropshire, from whom are directly descended the Mainwarings of Oteley Park, Ellesmere, and indirectly the Mainwarings of Over-Peover, Cheshire.

105.  The phrase is matched by another in Much Ado about Nothing (act ii. sc. 1, l. 214, vol. ii. p. 22), when Benedict said of the Lady Beatrice, “O, she misused me past endurance of a block! an oak but with one green leaf on it would have answered her.”

106.  “The sixth device,” say the Illustrations of Shakespeare, by Francis Douce, vol. ii. p. 127, “from its peculiar reference to the situation of Pericles, may, perhaps, have been altered from one in the same collection (Paradin’s), used by Diana of Poitiers. It is a green branch springing from a tomb, with the motto, ‘Sola vivit in illo,’”—Alone on that she lives.

107.  “Frvmentorvm ac leguminum semina ac grana in terram projecta, ac illi quasi concredita, certo tempore renascuntur, atque multiplices fructus producunt. Sic nostra etiam corpora, quamvis: jam mortua, ac terrestri sepulturæ destinata, in die tamen ultima resurgent, & piorum quidem ad vitam, impiorum vero ad judicium.”... “Alibi legitur, Spes vna svperstes, nimirum post funus.”

108.  

“Swallows have built
In Cleopatra’s sails their nests: the augurers
Say they know not, they cannot tell; look grimly
And dare not speak their knowledge.”
Ant. & Cleop., act 4, sc. 12, l. 3.

109.  

“Nec, si miserum fortuna Sinonem
Finxit, vanum etiam mendacemque improba finget.”
“Talibus insidiis, perjurique arte Sinonis,
Credita res: captique dolis, lachrymisque coactis,
Quos neque Tydides, nec Larissæus Achilles,
Non anni domuêre decem, non mille carinæ.”
“fatisque Deûm defensus iniquis,
Inclusos utero Danaos et pinea furtim
Laxat claustra Sinon.”

110.  The text of Sambucus is dedicated to his father, Peter Sambukius.

“Dvm rigidos artus elephas, dum membra quiete
Subleuat, assuetis nititur arboribus:
Quas vbi venator didicit, succidit ab imo,
Paulatim vt recubans belua mole ruat.
Tam leuiter capitur duri qui in prœlia Martis
Arma, viros, turrim, tergore vectat opes.
Nusquam tuta fides, nimium ne crede quieti,
Sæpius & tutis decipiere locis.
Hippomenes pomis Schœneïda vicit amatam,
Sic Peliam natis Colchis acerba necat.
Sic nos decipiunt dedimus quibus omnia nestra:
Saltem conantur deficiente fide.”

111.  

“A snake worn out with cold a rustic found,
And cherished in his breast doth rashly warm;
Thankless the snake inflicts a fatal wound,
And life restored requites with deadly harm.
If badly benefits thou dost intend,
Simple of heart and good within thy mind,—
No benefits suppose them in their end,
But deeds of evil and of evil kind.
To serve the thankless is a sinful thing,
And wicked they who wilfully give pain;
Whatever with free soul of good thou bring,
This rightfully thou may’st account true gain.”

112.  Schiller’s Werke, band 8, pp. 426–7. “Die Regierung dieser Stadt war in allzu viele Hände vortheilt, und der stürmischen Menge ein viel zu grossen Antheil daran gegeben, als dasz man mit Ruhe hätte überlegen mit Einsieht wählen und mit Festigkeit ausführenkönnen.”

113.  As Whitney describes him (p. 110, l. 27),—

“Augustus eeke, that happie most did raigne,
The scourge to them, that had his vnkle slaine.”

114.  

“His soldiers spying his undaunted spirit,
A Talbot! a Talbot! cried out amain,
And rush’d into the bowels of the battle.”

1 Henry VI., act. i. sc. 1, l. 127.

115.  See Gentleman’s Magazine, 1778, p. 470; 1821, pt. 1, p. 531; and Archæologia, vol. xix. pt. 1, art. x. Also, Blomfield’s Norfolk, vol. v. p. 1600.

116.  

“But a prince slow for punishments, swift for rewards;
To whomsoever he grieves, how often is he forced to be severe.”

117.  

“If as often as men sin his thunderbolts he should send,
Jupiter, in very brief time, without arms will be.”

118.  

“The Heraulte, that proclaims the daie at hande,
The Cocke I meane, that wakés vs out of sleepe,
On steeple highe, doth like a watchman stande:
The gate beneath, a Lion still doth keepe.
And why? theise two, did alder time decree,
That at the Churche, theire places still should bee.
That pastors, shoulde like watchman still be preste,
To wake the worlde, that sleepeth in his sinne,
And rouse them vp, that longe are rock’d in reste,
And shewe the daie of Christe, will straighte beginne:
And to foretell, and preache, that light deuine,
Euen as the Cocke doth singe, ere daie doth shine.
The Lion shewes, they shoulde of courage bee
And able to defende, their flocke from foes:
If rauening wolfes, to lie in waite they see:
They shoulde be stronge, and boulde, with them to close:
And so be arm’de with learning, and with life,
As they might keepe, their charge, from either strife.”

119.  See also Ecl. ix. 29, 36.

120.  See also Carm. iv. 3. 20.

121.  The same author speaks also of the soft Zephyr moderating the sweet sounding song of the swan, and of sweet honour exciting the breasts of poets; and presents the swan as saying, “I fear not lightnings, for the branches of the laurel ward them off; so integrity despises the insults of fortune.”—Emb. 24 and 25.

122.  Paradin’s words and his meaning differ; the Civic crown was bestowed, not on the citizen saved, but on the citizen who delivered him from danger.

123.  Consequently there is an anachronism by Shakespeare in assigning the order of St. Michael to “valiant Lord Talbot, Earl of Shrewsbury,” who was slain in 1453.

124.  The name of Lord Talbot, Earl of Shrewsbury, does not occur in the list which Paradin gives of the twenty-four Knights Companions of the Golden Fleece.

125.  Paradin’s text:—“Ma Dame Bone de Sauoye mere de Ian Galeaz, Duc de Milan, se trouuant veufe feit faire vne Deuise en ses Testons d’vne Fenix au milieu d’vn feu auec ces paroles: Sola facta, solum Deum sequor. Voulant signifier que comme il n’y a au monde qu’vne Fenix, tout ainsi estant demeuree seulette, ne vouloit aymer selon le seul Dieu, pour viure eternellement.”

126.  See Penny Cyclopædia, vol. xxi. p. 343: “We have no doubt that the three plays in their original form, which we now call the three Parts of Henry VI., were his,” i. e. Shakespeare's, “and they also belong to this epoch,” i. e. previous to 1591.

127.  Or Parvus Mundus, ed. 1579, where the figure of Bacchus by Gerard de Jode has wings on the head, and a swift Pegasus by its side, just striking the earth for flight.

128.  It is curious to observe how in the margin Whitney supports his theme by a reference to Ovid, and by quotations from Anacreon, John Chrysostom, Sambucus, and Propertius.

129.  To the device of the Sirens, Camerarius, Ex Aquatilibus (ed. 1604, leaf 64), affixes the motto, “Mortem dabit ipsa volvptas,”—Pleasure itself will give death,—and with several references to ancient authors adds the couplet,—

“Dulcisono mulcent Sirenes æthera cantu:
Tu fuge, ne pereas, callida monstra maris.”
i.e.
“With sweet sounding song the Sirens smooth the breeze:
Flee, lest thou perish, the crafty monsters of the seas.”

130.  Shakespeare’s “goddess blind” and his representation of blind Love have their exact correspondence in the motto of Otho Vænius, “Blynd fortune blyndeth loue;” which is preceded by Cicero’s declaration, “Non solùm ipsa fortuna cæca est: sed etiam plerumque cæcos efficit quos complexa est: adeò vt spernant amores veteres, ac indulgeant nouis,”—

“Sometyme blynd fortune can make loue bee also blynd,
And with her on her globe to turne & wheel about,
When cold preuailes to put light loues faint feruor out,
But ferwent loyall loue may no such fortune fynde.”

131.  Well shown in Whitney’s device to the motto, Veritas inuicta,—“Unconquered truth” (p. 166),—where the Spirits of Evil are sitting in “shady cell” to catch the souls of men, while the Great Enemy is striving—

“with all his maine and mighte
To hide the truthe, and dimme the lawe deuine.”

132.  

“Lvnarem noctu, vt speculum, canis inspicit orbem:
Seq. videns, altum credit inesse canem,
Et latrat: sed frustra agitur vox irrita ventis,
Et peragit cursus surda Diana suos.”

133.  

“Irrita vaniloquæ quid curas spicula linguæ?
Latrantem curatne alta Diana canem.”

134.  See Ovid’s Metamorphoses, bk. x. fab. 1, 2.

135.  For pictorial representations of the wonders which Orpheus wrought, see the Plantinian edition of “P. Ovidii Nasonis Metamorphoses,” Antwerp, 1591, pp. 238–243.

136.  See Ovid’s Metamorphoses, bk. iii. fab. 2; or the Plantinian Devices to Ovid, edition 1591, pp. 85, 87.

137.  In the beautiful Silverdale, on Morecambe Bay, at Lindow Tower, there is the same hospitable assurance over the doorway, “Homo homini lupus.”

138.  The device by Gerard de Jode, in the edition of 1579, is a very fine representation of the scene here described.

139.  May we not in one instance illustrate the thought from a poet of the last century?—

“Who, who would live, my Nana, just to breathe
This idle air, and indolently run,
Day after day, the still returning round
Of life’s mean offices, and sickly joys?
But in the service of mankind to be
A guardian god below; still to employ
The mind’s brave ardour in heroic aims,
Such as may raise us o’er the grovelling herd,
And make us shine for ever—that is life.”—Thomson

140.  For other pictorial illustrations of Phaëton’s charioteership and fall, see Plantin’s Ovid (pp. 46–49), and De Passe (16 and 17); also Symeoni’s Vita, &c., d’Ovidio (edition 1559, pp. 32–34).

141.  Ovid’s Metamorphoses, by Crispin de Passe (editions 1602 and 1607, p. 10), presents the fable well by a very good device.

142.  See the reprint of The Dialoges of Creatures Moralysed, by Joseph Haslewood, 4to, London, 1816 (Introd., pp. viij and ix).

143.  With the addition of two friends in conversation seated beneath the elm and vine, Boissard and Messin (1588, pp. 64, 65) give the same device, to the mottoes, “Amicitiæ Immortali,”—To immortal friendship: “Parfaite est l’Amitié qui vit après la mort.”

144.  “Centvm Fabvlæ ex Antiqvis delectæ, et a Gabriele Faerno Cremonense carminibus explicatæ. Antuerpiæ ex officina Christoph. Plantini, M.D.LXXXIII.” 16mo. pp. 1–171.

145.  See the French version of Æsop, with 150 beautiful vignettes, “Les Fables et la Vie d’Esope:” “A Anvers En l’imprimerie Plantiniēne Chez la Vefue, & Jean Mourentorf, M.D.XCIII.” Here the bird is a jay (see p. 117, Du Gay, xxxi); and the peacocks are the avengers upon the base pretender to glories not his own.

146.  Cervantes and Shakespeare died about the same time,—it may be, on the same day; for the former received the sacrament of extreme unction at Madrid 18th of April, 1616, and died soon after; and the latter died the 23rd of April, 1616.

147.  Paralleled in Æsop’s Fables, Antwerp, 1593; by Fab. xxxviii., De l Espriuier & du Rossignol; lii., De l Oyseleur & du Merle; and lxxvii., Du Laboureur & de la Cigoigne.

148.  Identical almost with “La fin covronne l’oevvre” in Messin’s version of Boissard’s Emblematum Liber (4to, 1588), where (p. 20) we have the device of the letter Y as emblematical of human life; and at the end of the stanzas the lines,—

“L’estroit est de vertu le sentier espineux,
Qui couronne de vie en fin le vertueux:
C’est ce que considere en ce lieu Pythagore.”

149.  In the Emblems of Lebens-Batillius (4to, Francfort, 1596), human life is compared to a game with dice. The engraving by which it is illustrated represents three men at play with a backgammon-board before them.

150.  The skeleton head on the shield in Death’s escutcheon by Holbein, may supply another pictorial illustration, but it is not sufficiently distinctive to be dwelt on at any length. The fac-simile reprints by Pickering, Bohn, Quaritch, or Brothers, render direct reference to the plate very easy.

151.  A note of inquiry, from Mr. W. Aldis Wright, of Trinity College, Cambridge, asking me if Shakespeare’s thought may not have been derived from an emblematical picture, informs me that he has an impression of having “somewhere seen an allegorical picture of a child looking through the eyeholes of a skull.”

152.  In Johnson’s and Steeven’s Shakespeare (edition 1785, vol. x. p. 434) the passage is thus explained, “Sir John Suckling, in one of his letters, may possibly allude to this same story. ‘It is the story of the jackanapes and the partridges; thou starest after a beauty till it is lost to thee, and then let’st out another, and starest after that till it is gone too.’”

153.  See a most touching account of a she-hear and her whelps in the Voyage of Discovery to the North Seas in 1772, under Captain C. J. Phipps, afterwards Lord Mulgrave.

154.  “Zodiacvs Christianvs, seu signa 12, diuinæ Prædestinationis, &c., à Raphaele Sadelero, 12mo, p. 126, Monaci CD. DCXVIII.”

155.  See also the Emblems of Camerarius (pt. iii. edition 1596, Emb. 47), where the turkey is figured to illustrate “Rabie svccensa tvmescit,”—Being angered it swells with rage.

“Quam deforme malum ferventi accensa furore
Ira sit, iratis Indica monstrat avis,”—
“How odious an evil to the violent anger may be
Inflamed to fury.—the Indian bird shows to the angry.”

156.  See also other passages from the Georgics,—

“Ut, cum prima novi ducent examina reges
Vere suo.”iv. 21.
“Sin autem ad pugnam exierint, nam sæpe duobus
Regibus incessit magno discordia motu.” iv. 67.

Description of the kings (iv. 87–99),—

“tu regibus alas
Eripe.”iv. 106.

And,—

“ipsæ regem parvosque Quirites
Sufficiunt, aulasque ei cerea regna refingunt.”iv, 201.

157.  At a time even later than Shakespeare’s the idea of a king-bee prevailed; Waller, the poet of the Commonwealth, adopted it, as in the lines to Zelinda,—

“Should you no honey vow to taste
But what the master-bees have placed
In compass of their cells, how small
A portion to your share will fall.”

In Le Moine’s Devises Heroiqves et Morales (4to, Paris, 1649, p. 8) we read, “Du courage & du conseil au Roy des abeilles,”—and the creature is spoken of as a male.

158.  To mention only Joachim Camerarius, edition 1596, Ex Volatilibus (Emb. 29–34); here are no less than five separate devices connected with Hawking or Falconry.

159.  Take an example from the Paraphrase in an old Psalter: “The arne,” i.e. the eagle, “when he is greved with grete elde, his neb waxis so gretely, that he may nogt open his mouth and take mete: hot then he smytes his neb to the stane, and has away the slogh, and then he gaes til mete, and he commes yong a gayne. Swa Crist duse a way fra us oure elde of syn and mortalite, that settes us to ete oure brede in hevene, and newes us in hym.”