Notes and Queries, Number 207, October 15, 1853. Various

to be the queen of "Thiernah Ogieh," and invited him to accompany her thither and share her throne. They then set out on their journey, one in all respects similar to that undertaken by Thomas the Rhymer and the queen of Faerie, and having overcome all obstacles, arrived at "the land of perpetual youth," where all the delights of the terrestrial paradise were thrown open to Ussheen, to be enjoyed with only one restriction. A broad flat stone was pointed out to him in one part of the palace garden, on which he was forbidden to stand, under penalty of the heaviest misfortune. One day, however, finding himself near the fatal stone, the temptation to stand on it became irresistible, and he yielded to it, and immediately found himself in full view of his native land, the existence of which he had forgotten from the moment he had entered the kingdom of Thiernah Ogieh. But alas! how was it changed from that country he had left only a few days since, for "the strong had become weak," and "the brave become cowards," while oppression and violence held undisputed sway through land. Overcome with grief, he hastened to the the queen to beg that he might be restored to his country without delay, that he might endeavour to apply some remedy to its misfortunes. The queen's prophetic skill made her aware of Ussheen's transgression of her commands before he spoke, and she exerted all her persuasive powers to prevail upon him to give up his desire to return to Erin, but in vain. She then asked him how long he supposed he had been absent from his native land, and on his answering "thrice seven days," she amazed him by declaring that three times thrice seven years had elapsed since his arrival at the kingdom of Thiernah Ogieh; and though Time had no power to enter that land, it would immediately assert its dominion over him if he left it. At length she persuaded him to promise that he would return to his country for only one day, and then come back to dwell with her for ever; and she gave him a jet-black horse of surpassing beauty, from whose back she charged him on no account to alight, or at all events not to allow the bridle to fall from his hand. She farther endued him with wisdom and knowledge far surpassing that of men. Having mounted his fairy steed, he soon found himself approaching his former home; and as he journeyed he met a man driving before him a horse, across whose back was thrown a sack of corn: the sack having fallen a little to one side, the man asked Ussheen to assist him in balancing it properly; Ussheen instantly stooped from his horse, and catching the sack in his right hand, gave it such a heave that it fell over on the other side. Annoyed at his mistake, he forgot the injunctions of his bride, and sprung from his horse to lift the sack from the ground, letting the bridle fall from his hand at the same time: instantly the horse struck fire from the ground with his hoofs, and uttering a neigh louder than thunder, vanished; at the same instant his curling locks fell from Ussheen's head, darkness closed over his beaming eyes, the more than mortal strength forsook his limbs, and, a feeble helpless old man, he stretched forth his hands seeking some one to lead him: but the mental gifts bestowed on him by his immortal bride did not leave him, and, though unable to serve his countrymen with his sword, he bestowed upon them the advice and instruction which flowed from wisdom greater than that of mortals.

Francis Robert Davies.

      SHAKSPEARE CORRESPONDENCE

      On "Run-awayes" in Romeo and Juliet.—

      "Gallop apace, you fiery-footed steedes,

      Towards Phœbus' lodging such a wagoner

      As Phaeton would whip you to the west,

      And bring in cloudie night immediately.

      Spred thy close curtaine, Love-performing night,

      That run-awayes eyes may wincke, and Romeo

      Leape to these armes, vntalkt of and vnseene."

      Your readers will no doubt exclaim, is not this question already settled for ever, if not by Mr. Singer's substitution of rumourer's, at least by that of R. H. C., viz. rude day's? I must confess that I thought the former so good, when it first appeared in these pages, that nothing more was wanted; yet this is surpassed by the suggestion of R. H. C. As conjectural emendations, they may rank with any that Shakspeare's text has been favoured with; in short, the poet might undoubtedly have written either the one or the other.

      But this is not the question. The question is, did he write the passage as it stands in the first folio, which I have copied above? Subsequent consideration has satisfied me that he did. I find the following passage in the Merchant of Venice, Act II. Sc. 6.:

      "– but come at once,

      For the close night doth play the run-away,

      And we are staid for at Bassanio's feast."

      Is it very difficult to believe that the poet who called the departing night a run-away would apply the same term to the day under similar circumstances?

      Surely the first folio is a much more correctly printed book than many of Shakspeare's editors and critics would have us believe.

H. C. K.

      —– Rectory, Hereford.

      The Word "clamour" in "The Winter's Tale."—Mr. Keightley complains (Vol viii., p. 241.) that some observations of mine (p. 169.) on the word clamour, in The Winter's Tale, are precisely similar to his own in Vol. vii., p. 615. Had they been so in reality, I presume our Editor would not have inserted them; but I think they contain something farther, suggesting, as they do, the A.-S. origin of the word, and going far to prove that our modern calm, the older clame, the Shakspearian clamour, the more frequent clem, Chaucer's clum, &c., all of them spring from the same source, viz. the A.-S. clam or clom, which means a band, clasp, bandage, chain, prison; from which substantive comes the verb clæmian, to clam, to stick or glue together, to bind, to imprison.

      If I passed over in silence those points on which Mr. Keightley and myself agreed, I need scarcely assure him that it was for the sake of brevity, and not from any want of respect to him.

      I may remark, by the way, on a conjecture of Mr. Keightley's (Vol. vii., p. 615.), that perhaps, in Macbeth, Act V. Sc. 5., Shakspeare might have written "till famine clem thee," and not, as it stands in the first folio, "till famine cling thee," that he is indeed, as he says, "in the region of conjecture:" cling is purely A.-S., as he will find in Bosworth, "Clingan, to wither, pine, to cling or shrink up; marcescere."

H. C. K.

      —– Rectory, Hereford.

      Three Passages in "Measure for Measure."—H. C. K. has a treacherous memory, or rather, what I believe to be the truth, he, like myself, has not a complete Shakspeare apparatus. Collier's first edition surely cannot be in his library, or he would have known that Warburton, long ago, read seared for feared, and that the same word appears in Lord Ellesmere's copy of the first folio, the correction having been made, as Mr. Collier remarks, while the sheet was at press. I however assure H. C. K. that I regard his correction as perfectly original. Still I have my doubts if seared be the poet's word, for I have never met it but in connexion with hot iron; and I should be inclined to prefer sear or sere; but this again is always physically dry, and not metaphorically so, and I fear that the true word is not to be recovered.

      I cannot consent to go back with H. C. K. to the Anglo-Saxon for a sense of building, which I do not think it ever bore, at least not in our poet's time. His quotation from the "Jewel House," &c. is not to the point, for the context shows that "a building word" is a word or promise that will set me a-building, i. e. writing. After all I see no difficulty in "the all-building law;" it means the law that builds, maintains, and repairs the whole social edifice, and is well suited to Angelo, whose object was to enhance the favour he proposed to grant.

      Again, if H. C. K. had looked at Collier's edit., he would have seen that in Act I. Sc. 2., princely is the reading of the second folio, and not a modern conjecture. If he rejects this authority, he must read a little farther on perjury for penury. As to the Italian prenze, I cannot receive it. I very much doubt Shakspeare's knowledge of Italian, and am sure that he would not, if he understood the word, use it as an adjective. Mr. Collier's famed corrector reads with Warburton priestly, and substitutes garb for guards, a change which convinces me (if proof were wanting)