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* It was a wonder wede,
Nowther of wol, ne of line."
This means Jesus Christ, who, in the interval be. tween his crucifixion and ascension, is fay’d, in the apostles creed, to have « descended into hel.” This visitation is relateëd, most at large, in Nichodemuses gospel. In Hearnes appendix to Forduns Scotichronicon (P. 1402-3), is a singular engraveing from an old illumination, in which “ Thesus Christus (refurgens a mortuis Spoliat infernum," not faint Patrick, as doctor Johnson mistakes)" is represented," as he says, “ visiting hel, and puting the devils into great confusion...of whom one... [with a prong and a horn] has a label issuing out of his mouth, with these words, “ Dut out arongzt!" (Note in Shakspeare, 1793, VII, 342.) The harowing of hel (which seems to mean facking or plundering, as Christ goes arm'd with his cross, and releaseës Adam, his children, and all the saints) is frequently mention’d in the ancient mysterys. In one of The Coventry Corpus-Christi-plays (Cotton MSS. Vespasian, D, VIII, fo.185,6) Belyall crys when Christs foul is at the gates of hel,
“ Alas, alas, out and harrow !” In one of The Chester-Whitsun-plays (Harley MSS. Num. 2015), call’d The harrowing of hell (fo. 5), the second dæmon exclaims,
“ Out harrowe! where is our mighte?" “ Haro,” according to Warton, “ is a form of ex. clamation anciently use'd in Normandy [clameur de Haro), to call for help, or to raise the Hue and cry Terroneously, suppose'd by some, on that account, to be a corruption of Ha Rou! i. e. Rollo, D. of Nor. mandy]. (Ob. on the F. Q. I, 171.) In fact, however, Pharroh was the old war-cry of the Irish (see Camdens Britannia, 1695, P. 1047; and Spensers View of Ireland, P. 39). The word, too, or crie de guerre, of Joan of Arc, “ was Hara ha!" (Howells Letters, P. 113.)
1.171. For, and ye my love should wynne,
With chyvalry ye must begin.] In like manner Horn-child, before he wil agree to marry Rymenild, thinks it necessary to fpend seven years in knightly, adventures. See, allso, the advice giveën to Petit Jehan de Saintré, by la jeune dame des belles cousines (P. 169, &c.) and his fubfequent conduct.
V. 175. Through which ye may wynne your fhone.) See Le bone Florence of Rome, V. 656; and the note upon that passage. V. 215. Both O and R shall be therein,
With A and M it shall begynne.]
“ Of smale coral about her arm she bare
And after, Amor vincit omnia."
Unless, that is, thou should'st take him with the manner. See before, The erle of Tolous, V.522; and the note on that line.
V. 541. Undo your dore, my lady swete.]
From this repeated exclamation of the poor terri. fy'd squire, he seems to have acquire'd it as a nickname, the printers colophon being—“ Thus endeth Undo your dore, otherwise called the squyr of lowe degre.” To Undo your door is, to open it. Thus Gower, Confesso amantis, fo.41 :
“ This Geta cam than at laste
Unto the dore, and saide Undo!" So, likewise, in Kynge Horn:
“ Horn bed Undo, wel softe,
Monityme and ofte. * This sense of the word, however, would seem to have been obfolete in the time of Shakspeare, who, in the fragment of an old song, suppose'd to be sung by Ophelia, has .
“ —dupt the chamber-doore." V. 591. I pray to god, and our lady,
To send you the whele of Victory.] This couplet has allready occur'd. This illustrious princess, however, is here made to confound the wheel of Fortune with that of Victory, a godess who had no wheel.
V.614. Whan the dwarfe and mayde Ely.]
See Lybeaus disconus, V. 110, &c. where, however, the dwarf says nothing at all; so that, it is probable, there has either been a different edition of Lybeaus in French or Engleish, or the present minstrel has misa reciteëd the one we have.
V.714. With browes brent, and eyes ful mery.]
The printed copy reads “ browes bent :" the emen. dation is founded on the authority of an old Scotish song:
“ In January last,
On munanday at morn,
To view the winter corn,
And saw come o'er the know
With a bonny brent brow."
“ Fair her hair, and brent her brow." In the glossary to Ramsays Poems Brent-brow is explain'd“ smooth high forehead.” V.773. Homward thus fhall ye ryde,
On haukyng by the ryvers side.]
Thus Adam Davie, in his Lyf of Alysaunder :
“ In green wood and of huntyng,
And of ryver of haukyng.”
“ He couth hunt al the wild dere,
And ride an hawking by the rivere." Again, in The frankleins tale:
“ These fauconers upon a faire rivere,
That with the hawkis han the heron Nain." 1.824. Your maryners shall fynge arowe
Hey how and rumbylawe. Some song, with this busthen, seems to have been, formerly, peculiar to seamen. Thus, in Cocke Lorelles bote, b.l.
And some songe heve and howe, rumbelowe.” Skelton, too, in his Bowge of court has the following lines :
“ Holde up the helme, loke up, and lete god stere, I wolde be merie, what wind that ever blowe,
Heve and how rombelow, row the bote, Norman, rowe:" alludeing, it appears from Fabian, to “ a roundell or songe," made by the watermen in praise of John Norman, mayor of London, in the thirty second year of Henry the fixth, who, instead of rideing to Westmin. ster, like his predecessors, “ was rowed thyther by water." Its high antiquity is further manifested by the fragment of a very ancient Scotish song, preserve'd by the same Fabian, and other older chronicleërs, on the battle of Bannock-burn, in 1314:
“ Maydens of Englande, sore may ye morne, For your lemans ye have lost at Bannockys-borne,
With heue alowe:
What weneth the king of England
Upon yon ley land, hey:
Upon yon sea-strand, hey."
Farewell velvet, and satyne ; &c.] This list of adieus might have been reasonablely presume'd to have been parody'd by the immortal Shakspeare, who, certainly, was not very fcrupulous in the selection of his literary assistants, where he makes his hero roar out his final
“ Farewell! Othello's occupation's gone!” if his industrious editours had not allready provideëd, for the illustration of their inimitable authour, a suf. ficient quantity of those exclamatory perorations. (See the edition of 1793, XV, 542.)
THE KNIGHT OF CURTESY AND THE
FAIR LADY OF FAGUELL.
The history of which we have here a simple and romantick, but, at the same time, Mteresting and pa. thetick, narrative, is relateëd, with some prolixity, by Fauchet, from an old chronicle, writen about the year 1380, and is generally believe'd to be founded on facts. Le chastellain de Couci, the constable, that is, of Couci-castle (so strangely perverted in the present poem VOL. III,