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'old': adj. great. Macb. Porter, &c. “But if you shall refuse to marrie, then will he lay all the fault vpon you, and there will be olde stirre and hurleburlie.”—R. Bernard's Terence in English, p. 38, ed. 1607 (1st ed. 1598).
“Why, my maister hath ouerthrowne him
And his Curtall, both to the ground;
1599. Soliman and Perseda, sign. B 3, back. 'at quiet': J. Cæsar. “neither can the same (religion in Scotland), by meanes of old hatred remaining in seed, be at quiet.”—J. Hooker, continuation of Holinshed, Chronicle, iii. 1563, col. 1, 1. 41-2, ed. 1587.
"slaver': Cymb., I. vii. “Farfallone, the filthie snot of ones nose, or gubbon? of fleame . . Also, a filthie snottie, slouenly, slauering, driueling fellow.”—1598; Florio.
tender years': Ven. & Ad., 1091, &c. “ before, or till then, how couldst thou know his nature, or discerne his disposition, whilst tender yeares sætas), young age, awe, and his master, kept him vnder?" --R. Bernard's Terence in English, p. 9, ed. 1607 (1st ed. 1598).
thrasonical': L. L. Lost, V. i. “Richard Tarlton, in the Dedication to his Tarletons Tragical Treatises, 1578, expresses his fear of getting 'the name and note of a Thrasonicall Clawback.'”—Hazlitt's Handbook.
'time and tide': Rom. & Jul“Yet time & tide (that staies for no man) forbids vs to tire any more on this carrion, being more than glutted with it alreadie.”—1596; T. Nash, Saffron Walden, sign. I.
'white'; 'spit white': Falstaff. “If the spettle be white viscus, the sickenesse commeth of fleame; if black, of melancholy. ... The whitte spettle not knottie, signifieth health."—Addition' to lib. vii. cap. 29 of Butman uppon Bartholome, ed. 1582, fol. 97. Skeat.
' from 'gob.'
I. Shakspere's Dramatic Art.
a. Editorial Note, by Dr C. M. INGLEBY, P. 349.
SON (Christopher North), condensed by the Editor, p. 351.
chant of Venice, by the late Rev. N. J. HALPIN, p. 388.
II, Dr S. Forman's Book of Plays, or Notes in 1611 on Shakspere's Rich.
ard II, Winter's Tale, Cymbeline, and Macbeth ; with extracts from
The Lord Treasurer's accounts for 6 Plays acted in 1613, p. 413. III. On the Confusion of Time in the Merry Wives, by R. GRANT WHITE,
Esq., p. 421. IV. Appian's Civil Wars, 1578 : Extract from Book II, p. 427. V. Account of the German Shakspere Society's Jahrbuch, 1876, by F. D.
MATTHEW, Esq., p. 440. VI, Collation of the First edition of Marlowe's Edward I1, 1594, with
Dyce's text of 1850, Marlowe's Works, vol. ii., by DR RUDOLF
GENÉE of Dresden, p. 445. VII. Shakspereana published during the years 1874 and 1875, communicated
by FRANZ THIMM, p. 452.
SHAKSPERE'S DRAMATIC ART.
BY PROFESSOR JOHN WILSON AND THE REV. N. J. HALPIN.
a. In presenting a reprint of these remarkable papers to the New Shakspere Society, a few words of explanation may be acceptable. The first mention of Professor Wilson's “ astounding discovery” occurs in the fifth part of Dies Borcales, which appeared in Blackwood's Edinburgh Magazine for November, 1849. The subject is continued and developed in the sixth part, which was published in the same serial for April, 1850. Between the publication of Christopher North's two papers aforesaid, the leading Irish Shakspere-critic, the Rev. N. J. Halpin, awoke to the somewhat mortifying and "astounding discovery" that he had been anticipated in his theory of Shakspere's Dramatic Unities, and that the Time-Analysis, which he was then engaged in applying to Shakspere's Plays with the most startling and fruitful results, had been already revealed to his great Scotch rival. Professor Wilson had already applied it to Macbeth, and he afterwards employed it for dissecting the more intricate construction of Othello. Mr Halpin lost no time in preparing for the press his Time-Analysis of the Merchant of Venice, and it was published by Hodges and Smith of Dublin in that very month of November, with some introductory remarks (which we do not reprint) asserting and fully sustaining the originality and independence of his investigations. Meanwhile the great Christopher went on his way
“In maudlin meditation, fancy-free," apparently as unconscious of the very existence of Mr Halpin and his pamphlet as of the fact that his own rambling and bombastic, but genial and spirited, dialogues were destined to be mercilessly condensed and abridged for the benefit of the New Shakspere Society. If he did become conscious of Mr Halpin's existence he was probably not solicitous about his work, and at the most may possibly have asked, as our readers are sure to do,—“Who's this Halpin ?" This question we take leave to answer as briefly as possible. Nicholas John Halpin was a graduate of Trinity College, Dublin, and a clergyman of the English Church; he was the author of two (perhaps the very best) original publications of the old Shakespeare Society, viz., Oberon's Vision in the Midsummer-Night's Dream, Illustrated by a Comparison with Lylie's Endymion, 1843, pp. viii. and 108, and The Bridal Runaway: an Essay on Julieť s Soliloquy-Romeo and Juliet, III. ii., pp. 19, being Art. IV. in the second volume of the Shakespeare Society's Papers, 1845. Mr Halpin died in the autumn of 1850, at the age of 60, in the lifetime of his rival. His eldest son informs us that his father's death was probably caused by the unremitting labour of preparing his Dramatic Unities for the press at a time when he was suffering from ill health. On his death all his papers were sent to his youngest son, who has since died in New York. He inherited his father's literary talents, and wrote much periodical literature under the nom de plume of “Private Myles O'Reilly." He was a General in the United States Army and Registrar of the State of New York. What has become of those papers we have not heard. Shakspere-students are interested in their preservation; for it may be said of Mr Halpin, nihil tetigit quod non ornavit.