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This gem deserves to be patronized not only by our entire Royal Navy, but by all our Sailors' Homes and all our Mercantile Marine Associations." Crown 8vo. cloth, 58. PROMETHEUS the FIRE-GIVER, an Attempted Restoration of the Lost First Part of the Trilogy of Eschylus. Gum for sticking in Scraps, joining Papers, &c. 6d. and 1s. with strong, useful Brush (not a Toy). Send two stamps to cover postage for a sample Bottle, including Brush. Factory, Sugar Loaf Court, Leadenhall Street, E.C. Of all Stationers. Stickphast Paste sticks. LONDON, SATURDAY, JANUARY 13, 1900. CONTENTS. - No. 107. forward on behalf of other men. Quite unconsciously he ceases to be a critic and becomes an advocate. The late Mr. Hayward, who, like Mr. Dilke, was a vigorous and skilful opponent of the theory concerning Francis, had no Junius to offer for acceptance or scorn. In the Athenæum for 9 April, 1898, NOTES:-Mr. Dilke on Junius, 21-Was Shakespeare Dress of Charterhouse Scholars - Nursery Rimes-"Dan" QUERIES:-"Seek or "Seeke"-Sutty, Bookseller, 26, Gordon - The Word "Slang"- Taltarum — " Anchylo- - Rubens's Portrait of the Marchesa Grimaldi - Instrulittle lamb "—" Hoodock"-Future of Books and Book men-Thames Tunnel, 35-Child's Book - "Nefs," 36Garrard, Master of the Charterhouse-Venn: Mountford, 37-" By the haft"-Double-name Signatures for Peers NOTES ON BOOKS :- Dictionary of National Biography,' Notes. MR. DILKE ON JUNIUS. wrote the letters signed "Junius," my selfimposed task of demonstrating that Mr. Dilke and Mr. Hayward were justified in their conclusions as to Francis having then been accomplished. It may help some readers of Mr. Dilke's letter to explain his reference to Mason. In a review of the correspondence of Horace Walpole and Mason which appeared in the Athenæum for 17 May, 1851, Mr. Dilke amused himself, as he phrased it, by speculating whether the author of 'The Heroic Epistle,' either alone, or in concert with Walpole, might not have written the letters signed 'Junius." He may not have known that Walpole had satisfied himself that Junius was Wolfran Cornwall, who died in 1789 while Speaker of the House of Commons. Horace Walpole's 'Hints for discovering Junius' appeared in facsimile in the Athenæum for 24 January, 1891. Neither can Mr. Dilke have known that Mason's handwriting does not resemble the Junian hand in any particular. Mr. Dilke hints in the following letter that he "could perhaps WHEN Notes and Queries recently celebrated throw out other and even better speculative its Jubilee, Mr. Merton Thoms most cour-possibilities." I have been told on excellent teously offered for publication some of authority that Mr. Dilke considered George the letters which Mr. Dilke had written Steevens as a possible Junius. to his father. One of them will be of much interest to the readers of 'N. & Q.' While Mr. Dilke edited the Athenæum, he wrote many reviews of books concerning Junius, which were collected and published in 1875 by his grandson, Sir Charles W. Dilke, with the title Papers of Papers of a Critic.' I read these papers not only with interest, but profit, and with pardonable gratification that the view which I had formed of Francis and Junius, and made public in 1874 in my Wilkes, Sheridan, Fox,' had been formed without knowing what Mr. Dilke had written long before. Since then I have never ceased regretting that Mr. Dilke did not live to read the facts which have been made public and which confirm his inferences. The chief point in Mr. Dilke's letter is the phrase "I never was a hunter after Junius." For that reason he was the better critic. The writer who has his own Junius makes light of the evidence in support of claims put I 76, Sloane Street, Friday. MY DEAR SIR,-They sent up last night from Wellington Street the Critical Memoirs,' for which am greatly obliged. It is not, I fear, in the remotest degree probable Junius mystery-for many reasons, one being allthat the twelvemonth will enable me to solve the sufficient, I never was a hunter after Junius. You will be surprised at my saying so, but it is the fact. I have always, in my idle way, been a curious inquirer into two or three periods of our historythe last and worst the early part of the reign of George II., and thus, incidentally, I was led to test the accuracy and truthfulness of the edit. of 1812, 14, of J.'s Letters. Some papers which Sir Harris Nicolas wrote for the Athenaeum, and in which he assumed all true, led to a discussion, and he thought it better to stow them away until he had leisure to examine critically. This was only "labouring in my vocation." Subsequently circumstances* made me seek the numbing influences of a pursuit that occupied the mind without exciting it, and I renewed my *The death in 1850 of Mrs. Dilke.-CHARLES W. DILKE. examination of edit. 1812, 14, and other people's speculation on that edition." The utmost I have ever heard hazarded was in the paper on Mason, and it amounted only to this. Here is a man, never named or hinted at, who might have written the Letters - not a word to show that he did write them. I could, perhaps, throw out other and even better speculative possibilities. I have, indeed, some vague general characteristics which I think might help the inquirer, and a thorough conviction that all speculators, led and misled by edit. 1812, 14, are hunting in a wrong direction; but for myself I have never even put on top-boots and leathers, never even entered the field as a sportsman, and doubt if I ever shall. Yours very truly, solid ground; but to deduce the inference from the statement that the dramatist was therefore possessed of a "considerable knowledge" of music is clearly to make the conclusion wider than the premises. An author may put such words into his puppets' mouths as (Richard II.,' V. v.) Music do I hear? Ha, ha! keep time: how sour sweet music is, When time is broke and no proportion kept! or as (Merchant of Venice,' V. i.) How sweet the moonlight sleeps upon this bank! Here we will sit, and let the sounds of music Creep in our ears: soft stillness, and the night, Become the touches of sweet harmony, and yet be utterly devoid of music. If a small personality be permissible to emphasize my point, music, vocal or instrumental, a thing of beauty" and "a joy for ever"; yet I know no more of the scales than a cow does of the zodiac; and I too have sung in humble verse the glories of Calliope, though powerless to twang a string correctly on her divine lyre. is to me C. W. DILKE. Not the least pregnant of Mr. Dilke's remarks is one to the effect that he had a "thorough conviction that all speculators, led and misled by edit. 1812, 14, are hunting in a wrong direction." In that edition, which George Woodfall gave to the world, there are upwards of a hundred letters which are supposed to have proceeded from Junius's pen. No proof of authorship has been adduced. Yet it is the letters thus fathered Again, that music is a powerful and necesupon Junius which have been cited as evidence that Francis was the man. An edition sary adjunct to the complete enjoyment and of Junius's authentic letters seems to me to set-off of a dramatic piece is outside discusbe a desideratum. I have tried to convince sion. Shakespeare was practical enough to more than one publisher of this. The pre-recognize this, and accordingly made provailing opinion among publishers appears to vision for its introduction. be that the editions (George Woodfall and Verity, then, further says that "on the stage, Bohn) containing the spurious letters are especially in pathetic scenes, a musical acgood enough for the public. companiment almost always adds charm," I am thoroughly at one with him. sensible recognition of this factor in dramatic success no more argues a musical education or talent than the possession of a Stradivarius or a Sternberg does. Once more, that "music is a great feature in modern representations of Shakespeare" no one can reasonably question; without it, "No one can doubt that Shakespeare himself had in fact, even the elaborate staging of the a great love of music, and considerable knowledge plays by Irving and Benson would lack too; though not, I suppose, the scientific know-three-fourths of its attractiveness. ledge of it that Milton had." W. FRASER RAE. WAS SHAKESPEARE MUSICAL? THE editor of the "Pitt Press Shakespeare for Schools" (Mr. A. W. Verity, M.A.) thinks so in his notes to 'King Richard II.' (1899). He says: His "great love of music" I do not impeach; but I very much question his "considerable knowledge" of it. Mere allusions--and they are copious, as every one knows-to it, as appreciation of it, hardly constitute a proof of a practical acquaintance with any musical instrument, nor even of a knowledge of the technique of the art. It is mere supposition (and a somewhat strained one) to argue otherwise. That the poet used music in the performance of his plays is a more reasonable conjecture, and quite another question. When, therefore, Mr. Verity states that 'Shakespeare's use of music is a suggestive subject of study," he is, in my judgment, on When Mr. But a But con surely this is a poor plea for the poet's As accomplishment in no wise dims the transcendent brilliancy of his many others. I am simply and solely holding a brief in the interests of "whatsoever things are true"; and until Mr. Verity can adduce better proof than mere assertion of Shakespeare's musical knowledge, I shall continue to believe that he was, so far as direct evidence is concerned, entirely ignorant in that line. The efforts made of late years to make him a master of everything to which he has referred have something of the reductio ad absurdum in them. Because he frequently refers to archery, Mr. Rushton Shakespeare an Archer') forthwith turns him into an archer; because he often uses legal terms the same author ('Shakespeare a Lawyer') incontinently makes him a lawyer; because he writes of "sweet music Mr. Verity would have us believe he was a musician; because his pages bristle with passages about bees and glowworms he is an entomologist, though his numerous and glaring blunders anent those insects give him less claim to that than to the other titles. Clearly Shakespeare, or any man of wide reading and observation, could be generally conversant with all four without actually being any one of them. Macaulay can scarcely be considered a soldier, though he is the author of the 'Battle of Ivry, nor Kipling a sailor because he wrote A Fleet in Being. But enough. Shakespeare's knowledge, like Gladstone's, was encyclopædic; but it is surely the Ultima Thule of bathos to hoist him into the professorial chair of every branch of it, or at least to credit him with a proficiency which he himself would be the first to repudiate. J. B. McGOVERN. St. Stephen's Rectory, C.-on-M., Manchester. THE MURDER OF THE EMPEROR PAUL OF RUSSIA. THE accompanying account of the murder of Paul I. of Russia is taken from 'Étude Critique du Matérialisme et du Spiritualisme par la Physique Expérimentale,' by the wellknown writer and chemist Prof. Raoul Pictet, of the University of Geneva, published two years ago. The interest of the historical event in question, and the fact of the work in which the narrative appeared being probably unknown to many readers of N. & Q., may justify its insertion in that valued periodical whose jubilee has just been celebrated so worthily: I am about to relate an historical event which was told me by an eye-witness of the assassination of the Emperor Paul I. of Russia on 15 Jan., 1804. This witness was one of my aunts, who died at the advanced age of ninety-three years in 1869, having preserved the fulness of all her intellectual faculties Livonian nobility, having been born Countess until that extreme old age. As a young lady of the Sievers, she had been admitted into the palace in the capacity of one of the empress's maids of honour. The last few months of the Emperor Paul's reign were signalized by eccentricities verging on by his absolute power, ordered carriages and sledges madness. This monarch, whose brain was turned to be stopped in the streets, and obliged all his serfs, lords, nobles, and villains to alight on the carriageroad and kneel before him as he passed! In short, those about him determined to obtain his abdication cution of the palace plot my aunt noticed some by fair means or foul. Some days before the exeuneasiness at the drawing-rooms and during the receptions. Various sentences exchanged in a low tone, suspicious behaviour and secret conferences in corners of the rooms, did not escape her observation. The emperor, too, guessed that something was brewing against him, and appeared to be more reserved, as if on his guard. The very evening of the crime there was a grand court at the palace; all the official world and the diplomatic body were invited. The foreboding signs had become so evident that, about midnight, my aunt, who had retired to her rooms, which opened on to the long corridor of the Winter Palace, instead of going to bed, wrote a long letter to her father, who was at that time marshal of the Livonian nobility. She had half-undressed herself and sat writing at her table, with uncovered shoulders and wearing a short petticoat (les épaules nues et en simple jupon). About half-past one an unusual noise was heard in the corridor. This corridor, which was very long, traversed the palace from end to end, and terminated at the emperor's private apartments. Seized with emotion and fear, my aunt hurriedly took up chamber door. At the same moment Count Pahlen, the taper which was on her table and opened her the grand chamberlain, went by very agitated, and accompanied by four other nobles of the Court. What passed through my aunt's mind then no one can say; but this is her true story of what happened. I heard it more than twenty times at least during the two years I lived near to her at Paris in 1868-9, when I was studying at the Ecole Polytechnique and at the Sorbonne. My aunt loved to tell me this tragic adventure, which still moved her so much after sixty-four years that she never dared to write it down. "So I seized my taper, and, impelled by a force for which I cannot even now account, followed Count Pahlen and his four acolytes. Not one of in so unusual a costume. We walked a distance of them was astonished to see me following them thus about sixty yards to the emperor's chamber. The five men only exchanged gestures, not a word was uttered. Count Pahlen entered first without knockBehind him walked his colleague carrying a taper ing; he held in his hand a roll of white paper. in his hand; then all the others and myself entered. The Emperor Paul was seated at his table writing. Evidently he expected something and his suspicions were aroused. Count Pahlen first addressed him : 'We come, your Majesty, to ask of you, for the good of the country and your own, your abdication! Your health condemns you to retirement; all the physicians and we have arrived at the conclusion |