160.  The Virgin, in Brucioli’s Signs of the Zodiac, as given in our Plate XIII., has a unicorn kneeling by her side, to be fondled.

161.  The wonderful curative and other powers of the horn are set forth in his Emblems by Joachim Camerarius, Ex Animalibus Quadrupedibus (Emb. 12, 13 and 14). He informs us that “Bartholomew Alvianus, a Venetian general, caused to be inscribed on his banner, I drive away poisons, intimating that himself, like a unicorn putting to flight noxious and poisonous animals, would by his own warlike valour extirpate his enemies of the contrary factions.”

162.  See the fable of the Wolf and the Ass from the Dialogues of Creatures (pp. 53–55 of this volume).

163.  See p. 11 of J. Payne Collier’s admirably executed Reprint of “The Phœnix Nest,” from the original edition of 1593.

164.  There are similar thoughts in Shakespeare’s Phœnix and Turtle (Works, lines 25 and 37, vol. ix. p. 671),—

165.  Reusner adopts this first line from Ovid’s Fable of the Phœnix (Metam., bk. xv. 37. l. 3),—

166.  To render it still more useful, the words should receive something of classification, as in Cruden’s Concordance to the English Bible, and the number of the line should be given as well as of the Act and Scene.

167.  The whole stanza as given on the last page, beginning with the line,—

is quoted in Knight’s “Pictorial Shakspere” (vol. i. p. 154), in illustration of these lines from Hamlet concerning “the kind life-rendering pelican.” The woodcut which Knight gives is also copied from Whitney, and the following remark added,—“Amongst old books of emblems there is one on which Shakspere himself might have looked, containing the subjoined representation. It is entitled ‘A Choice of Emblemes and other Devices by Geffrey Whitney, 1586.’” Knight thus appears prepared to recognise what we contend for, that Emblem writers were known to Shakespeare.

168.  Virgil’s Æneid (bk. xii. 412–414), thus expressed in Dryden’s rendering, will explain the passage; he is speaking of Venus,—

See also Joachim Camerarius, Ex Animalibus Quadrup. (ed. 1595, Emb. 69, p. 71).

169.  In Haechtan’s Parvus Mundus (ed. 1579), Gerard de Jode represents the sleeping place as “sub tegmine fagi,”—but the results of the mistake as equally unfortunate with those in Bellay and Whitney.

170.  See “Archæologia,” vol. xxxv. 1853, pp. 167–189; “Observations on the Origin of the Division of Man’s Life into Stages. By John Winter Jones, Esq.”

171.  It may be noted that the Romans understood by Pueritia the period from infancy up to the 17th year; by Adolescentia, the period from the age of 15 to 30; by Juventus, the season of life from the 20th to the 40th year. Virilitas, manhood, began when in the 16th year a youth assumed the virilis toga, “the manly gown.”

172.  Soon after Whitney’s time this emblem was repeated in that very odd and curious volume; “Stamm Buch, Darinnen Christliche Tugenden Beyspiel Einhundert ausserlesener Emblemata, mit schönen Kupffer-stücke geziener:” Franckfurt-am-Mayn, Anno MDCXIX. 8vo, pp. 447. At p. 290, Emb. 65, with the words “Ubi es?” there is the figure of Adam hiding behind a tree, and among descriptive stanzas in seven or eight languages, are some intended to be specimens of the language at that day spoken and written in Britain:—

173.  For a fine Emblem to illustrate this passage, see “Horatii Emblemata,” by Otho Vænius, pp. 58, 59, edit. Antwerp, 4to, 1612; also pp. 70 and 71, to give artistic force to the idea of the “just man firm to his purpose.”

174.  Shakespeare illustrated by parallelisms from the Fathers of the Church might, I doubt not, be rendered very interesting and instructive by a writer of competent learning and enthusiasm, not to name it furore, in behalf of his subject.

175.  Opera, vol. i. p. 649 B, Francofurti, 1620.

176.  Reference might be made also to Whitney’s fine tale, Concerning Envy and Avarice, which immediately follows the Description of Envy.

177.  The original lines are,—

178.  The original lines by Hadrian Junius are,—

179.  “A third,” in the modern sense of the word, is just nonsense, and therefore we leave the reading of the Cambridge edition, and abide by those critics who tell us that thread was formerly spelt thrid or third. See Johnson and Steevens’ Shakspeare, vol. i. ed. 1785, p. 92.

180.  Can this be an allusion to Holbein’s Last Judgment and Escutcheon of Death in his Simulachres de la Mort, ed. 1538?

181.  “Cicero dict que Alcidamus vng Rheteur antique escripuit les louanges de la Mort, en les quelles estoient cõtenuz les nombres des maulx des humains, & ce pour leur faire desirer la Mort. Car si le dernier iour n’amaine extinction, mais commutation de lieu, Quest il plus a desirer? Et s’il estainct & efface tout, Quest il rien meilleur, que de s’ endormir au milieu des labeurs de ceste vie & ainsi reposer en vng sempiternel sommeil.”

182.  For many other instances of similarities in the use of old words, see the Appendix, I. p. 497.

183.  Were it only for the elegance and neat turn of the lines, we insert an epigram on a dog, by Joachim du Bellay, given in his Latin Poems, printed at Paris in 1569,—

184.  “Tarre,” i.e. provoke or urge; see Johnson and Steevens’ Shakespeare, vol. ix. p. 48, note.

185.  See “Horace his Arte of Poetrie, pistles, and satyres, englished” by Thomas Drant, 410, 1567.

186.  The character, however, of the animal is named in Midsummer Night’s Dream (act ii. sc. 1, l. 181), where Titania may look—

187.  See woodcut in this volume, p. 37.