double representation of Nicolas Blount, in his holiday attire, when he lived freely among the morts and dells, a gay spark and amorous, "an Upright Man," according to the lingo of the Canting tribe which term Awdeley explains as, "One that goeth wyth the trunchion of a staffe, which staffe they cal a Filtchman. This man is of so much authority, that meeting with any of his profession, he may cal them to accompt, & comaund a share or snap vnto himselfe, of al that thay have gained by their trade in one moneth. [No honesty among th.... s."] And if he doo them wrong, they haue no remedy agaynst hym, no though he beate them, as he vseth comonly to do. He may also comaund any of their women, which they cal Doxies, to serue his turne. He hath ye chiefe place at any market walke, & other assemblies, & is not of any to be controled."-The Fraternitye of Vacabondes, 1575. The same picture shows him in his professional "undress," as a "Counterfeit Cranke," or 66 Shamming Sick-man, under the alias of Nicolas Genynges. The single staff for the two is a neat artistic touch. We Evil days sometimes strip his holiday plumes from him. find this "hendy Nicholas " (not Chaucer's, who as well deserved it') exposed in the Pillory, in the next engraving. The absence of discernible features lower than the eyelids (which are closed in modest bashfulness, or for other sufficient reasons), is suggestive of the crowd having already indulged in tributary dues of mud or incipient chickens. The authoritative beadles shrink into diminutive minniken beside the stalwart hero of the civic triumph. It was sometimes part of the sentence that the term of exposure was divided, so that the culprit might be turned in different directions for each quarter of an hour. This was done to give an opportunity to every portion of the expectant crowd to see the object of regard, and "have a shy," or as our moderns say, "hull half a brick at him." What a thing it is to possess a "paternal government," thoughtful of popular enjoyment! Behold him enthroned. 1 Chaucer's Nicholas received about as warm a salute as it is possible for any one to obtain; of the two he would have preferred the pillory. But it was the colophon, not the title-page, of the volume that suffered. In the original a manly blush is hinted, on his face, by a wash of reddish colour. We have a few more representations of the pillory to give hereafter. The above may be compared with our own cut of Dangerfield exposed in the pillory (on p. 706); but our original was truly an imitation of a larger picture of Titus Oates. The other Dangerfield picture may similarly have been borrowed his whipping at the Cart's-Tail. Here is the much earlier representation, from Harman, Anno. Dom. 1567. It shows literally the reverses of two culprits, illustrated by cuts. Notice the vivacity of "the fiery and untamed steed," we may not write quadruped, the absence of hind-legs notwithstanding. Again he urges on his wild career." He is animated by hearing the playful whip behind, which, with "his own thought drove him like a goad,' as Tennyson puts it. "He listened to the sound, so familiar to his ear." But the London Sheriffs always rebuked indecorous haste, because it shortened the time allotted for punishment"Festina lente," they exclaimed. "Don't hurry so fast, please! Why make a toil of a pleasure?" 66 After this, the suggestive picture of whips and rods, suitable for such a "brushing up" process, comes in appropriately. As we see it, both in peace and waur, the "three-fold cord " was a knotty subject, like the modern nine-tailed Cat that scratches. None but the birch-rods were for feminine shoulders, we hope: although "holy Russia" employs the Knout on Polish ladies and Nuns. BRYY They were suitable for outdoor walking exercise. We add some of the fetters or "gyves," for prisoners: movable ornaments, though heavy and costly. (The "Scavenger's Daughter," whose iron embrace cramped all the limbs together, was reserved, at the Tower of London, for State offences.) These were "portable property." But the Stocks, of course, needed an investor to give up rambling for the season, and "strictly meditate the thankless muse," unless he had other subjects for contemplation. If of a philosophic turn, like Dr. Riccabocca, he might enjoy his pipe. If he were like the wight in our General Introduction,' instead of piping, he could retain his fiddle. A friend, in either case, might bring a pot of ale, to cheer his thoughts of England's wooden-walls, or speculations made in Timber. The society of lovely woman was not denied to him: "While I have these, my Friend and Pitcher." 1 Page XXXIV. Where the offence was not grievous, or the officials admitted some "compunctious visitings," only one leg was locked into the Stocks. "And this place our forefathers made for man!"-Coleridge. Page 199. True Love Rewarded with Cruelty. "François Xavier Auguste squatting up in his bed, Mon Dieu! v'là deux! By the Pope, there are Two!!!" All On our page 199 we had already expressed the doubt we felt when transcribing and reprinting "The Cook-Maid's Cruelty" (Bagford Coll., ii. 52 verso), and the "Answer to the CookMaid's Tragedy" (Bagford Coll., ii. 59 verso; ii. 97 verso. these three were mutilated, but we regained the lost lines from Pepysian-Library duplicates). We could not feel satisfied that these two ballads were connected. We believed our suspicion to be well founded, and at first deceived ourselves with a hope of being able to give here the veritable first part of "The Cook-Maid's Tragedy." If the following ballad were what we |