all ; insomuch that myself (still continuing one fashion) bought a Beaver Hat for five shillings, which the year before could not be had under thirty shillings. The like, or more, may be said of the change from plain to double Ruffs.” Page 24, line 14. Side-breeches, as though they were to act Tarleton's part in a plate. The dress of this actor, who was famous for playing the part of the clown (or boor) at the Red Bull theatre, is here alluded to. Wright, in “The Passions of the Minde,” 1601 (a passage quoted by Fairholt, p. 271, but not in the edition of 1604), says, “Sometimes I have seen Tarleton play the clowne, and use no other breeches than such sloppes or slivings as now many gentlemen weare ; they are almost capable of a bushel of wheate.” And again, in Rowland’s “Letting of Humours blood in the Head-vaine,” 1600, epigr. 30, When Tarlton clown'd it in a pleasant vaine,

Clownes knew the Clowne by his great clownish slop; But now th'are gull'd, for present fashion sayes Dicke Tarlton's part gentlemens breeches plaies. Tarlton died in September, 1588 (Collier, “Annals of the Stage,” vol. ii. p. 351). Sidebreeches and side-slopps mean the same thing ; and side here means long, as rightly explained by Nares. In the Harleian MS. 3885, containing specimens of Calligraphy executed by John Scottowe, in the reign of Elizabeth, there is (at fol. 19) a figure of Tarlton, introduced playing on the pipe and tabor (of which a reduced copy is given by Fairholt, “History of Costume,” p. 269), with the following verses annexed:— The picture here set down within this letter T, Aright doth shew the forme & shap of Tarlton unto the. When hee in pleasaunt wise the Counterfet expreste Of Clowne, wo cote of russet hew, and sturtups wo ye reste. Whoe merry many made, when he appeard in sight, The grave and wise, as well as rude, at him did take delight. The partie nowe is gone, and closlie clad in claye; Of all the Jesters in the lande, he bare the praise awaie. Now hath he plaid his parte, and sure he is of this, If he in Christe did die, to live with him in lasting blis.

In this drawing he is represented wearing the long breeches coming down to the ankle,
noticed in the text. Another copy of this portrait of Tarlton, on a smaller scale, is inserted
in a MS. among Rawlinson's Collection in the Bodleian Library, containing Penmanship by
John Davies, of Hereford, and his scholars. The following verses accompany it (fol. 19):—
Tarlton beholde, that played the Contreye Clowne,
None lyke to him, in Citie, Courte, or Towne ;
His clownish grace, his gesture, and his porte,
Did much delight the best and meanest sorte.
I greatlie doubt that I shall never see
One counterfeate the Clowne so well as hee.
A third copy of this portrait is preserved in the Pepysian Library, Magdalen College,
Cambridge, from which it was engraved (apparently, not very accurately) in Harding's
“Biographical Mirror,” 1795, vol. i.
Page 24, line 20. Side-coates, such as was the noble Archie's, &c. This coat of the
Court Jester is noticed also by Ben Jonson in the “Staple of Newes,” act iii. sc. 1.
(first printed in 1625.)
- - . . a cabal
Found out but lately, and set out by Archie,
Or some such head, of whose long coat they have heard,
And being black, desire it.

See Gifford's note, p. 242. In the Add. MS. 5750, fol. 30, in the British Museum, is preserved the original warrant for the crimson velvet coat, laced with gold, of Archibald Armstrong, at the marriage of the Princess Elizabeth, in February, 1612–13. See the Archaeologia, vol. xxvi. p. 392. Page 25, line 21. Denay; deny. Used by Shakspere, 2 Henry VI., act i. sc. 3. Line 23. Hung with railes. A rail is explained by Nares and Fairholt to mean a cloak or loose gown; but this is erroneous. It is evident, from the quotations given from Palsgrave and Florio in Halliwell's Dictionary, that the rail was a sort of tippet or collar, made of fine linen, which might be edged with gold or other material. In Baret's “Alvearie,” 1572, rail is rendered amictorium, and is considered synonymous with “neckecloth, kerchief, or partlet.” Page 26, line 6. Lamiaes. An allusion borrowed from classical mythology,

Neu pransae Lamiae vivum puerum extrahat alvo.
Horat. de Arte Poet. v. 340.

In Florio's “Queen Anna's New World of Words,” ed. 1611, p. 275, we find under the word “Lamia.-Also women that were thought to have such eyes as they could at their pleasure pull out and put in againe, or, as some describe them, certaine divels in a counterfeit shape, that with flatterings allured faire yoong springals or boyes, and taking upon them the likenesse and fashion of women, were thought to devoure them and bring them to destruction. Some thought them to be Ladies of the Fairies (see p. 25, line 16), or such as make children affraid, or such witches as sucke children's blood and kill them.”

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