Folk-lore of Shakespeare, Thomas Firminger Thiselton Dyer [e reader comics TXT] 📗
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Nothing but ‘Mortimer,’ and give it him,
To keep his anger still in motion.”
Pliny tells us how starlings were taught to utter both Latin and Greek words for the amusement of the young Cæsars; and there are numerous instances on record of the clever sentences uttered by this amusing bird.
Swallow. This bird has generally been honored as the harbinger of spring, and Athenæus relates that the Rhodians had a solemn song to welcome it. Anacreon has a well-known ode. Shakespeare, in the “Winter’s Tale” (iv. 3), alludes to the time of the swallow’s appearance in the following passage:
That come before the swallow dares, and take
The winds of March with beauty.”
And its departure is mentioned in “Timon of Athens” (iii. 6): “The swallow follows not summer more willing than we your lordship.”
We may compare Tennyson’s notice of the bird’s approach and migration in “The May Queen:”
It has been long considered lucky for the swallow to build its nest on the roof of a house, but just as unlucky for it to forsake a place which it has once tenanted. Shakespeare probably had this superstition in his mind when he represents Scarus as saying, in “Antony and Cleopatra” (iv. 12):
In Cleopatra’s sails their nests: the augurers
Say, they know not,—they cannot tell;—look grimly,
And dare not speak their knowledge.”
Swan. According to a romantic notion, dating from antiquity, the swan is said to sing sweetly just before its death, many pretty allusions to which we find scattered here and there throughout Shakespeare’s plays. In “Merchant of Venice” (iii. 2), Portia says:
Fading in music.”
Emilia, too, in “Othello” (v. 2), just before she dies, exclaims:
And die in music.”
In “King John” (v. 7), Prince Henry, at his father’s death-bed, thus pathetically speaks:
I am the cygnet to this pale faint swan,
Who chants a doleful hymn to his own death,
And from the organ-pipe of frailty sings
His soul and body to their lasting rest.”
Again, in “Lucrece” (1611), we have these touching lines:
Begins the sad dirge of her certain ending.”
And once more, in “The Phœnix and Turtle:”
That defunctive music can,
Be the death-divining swan,
Lest the requiem lack his right.”
This superstition, says Douce,[329] “was credited by Plato, Chrysippus, Aristotle, Euripides, Philostratus, Cicero, Seneca, and Martial. Pliny, Ælian, and Athenæus, among the ancients, and Sir Thomas More, among the moderns, treat this opinion as a vulgar error. Luther believed in it.” This notion probably originated in the swan being identified with Orpheus. Sir Thomas Browne[330] says, we read that, “after his death, Orpheus, the musician, became a swan. Thus was it the bird of Apollo, the bird of music by the Greeks.” Alluding to this piece of folk-lore, Carl Engel[331] remarks: “Although our common swan does not produce sounds which might account for this tradition, it is a well-known fact that the wild swan (Cygnus ferus), also called the ‘whistling swan,’ when on the wing emits a shrill tone, which, however harsh it may sound if heard near, produces a pleasant effect when, emanating from a large flock high in the air, it is heard in a variety of pitches of sound, increasing or diminishing in loudness according to the movement of the birds and to the current of the air.” Colonel Hawker[332] says, “The only note which I ever heard the wild swan make, in winter, is his well-known ‘whoop.’”[333]
Tassel-Gentle.[334] The male of the goshawk was so called on account of its tractable disposition, and the facility with which it was tamed. The word occurs in “Romeo and Juliet” (ii. 2):
To lure this tassel-gentle back again!”
Spenser, in his “Fairy Queen” (bk. iii. c. iv. l. 49), says:
Which after her his nimble wings doth straine.”
This species of hawk was also commonly called a “falcon-gentle,” on account of “her familiar, courteous disposition.”[335]
Turkey. This bird, so popular with us at Christmas-tide, is mentioned in “1 Henry IV.” (ii. 1), where the First Carrier says: “God’s body! the turkeys in my pannier are quite starved.” This, however, is an anachronism on the part of Shakespeare, as the turkey was unknown in this country until the reign of Henry VIII. According to a rhyme written in 1525, commemorating the introduction of this bird, we are told how:
Came into England all in one yeare.”
The turkey is again mentioned by Shakespeare in “Twelfth Night” (ii. 5), where Fabian says of Malvolio: “Contemplation makes a rare turkey-cock of him: how he jets under his advanced plumes!”
Vulture. In several passages Shakespeare has most forcibly introduced this bird to deepen the beauty of some of his exquisite passages. Thus, in “King Lear” (ii. 4), when he is complaining of the unkindness of a daughter, he bitterly exclaims:
Sharp-tooth’d unkindness, like a vulture, here.”
What, too, can be more graphic than the expression of Tamora in “Titus Andronicus” (v. 2):
To ease the gnawing vulture of thy mind.”
Equally forcible, too, are Pistol’s words in “The Merry Wives of Windsor” (i. 3): “Let vultures gripe thy guts.”
Johnson considers that “the vulture of sedition” in “2 Henry VI.” (iv. 3) is in allusion to the tale of Prometheus, but of this there is a decided uncertainty.
Wagtail. In “King Lear” (ii. 2), Kent says, “Spare my grey beard, you wagtail?” the word being used in an opprobrious sense, to signify an officious person.
Woodcock. In several passages this bird is used to denote a fool or silly person; as in “Taming of the Shrew” (i. 2): “O this woodcock! what an ass it is!” And again, in “Much Ado About Nothing” (v. 1), where Claudio, alluding to the plot against Benedick, says: “Shall I not find a woodcock too?” In “Love’s Labour’s Lost” (iv. 3) Biron says:
Dumain transformed: four woodcocks in a dish.”
The woodcock has generally been proverbial as a foolish bird—perhaps because it is easily caught in springes or nets.[336] Thus the popular phrase “Springes to catch woodcocks” meant arts to entrap simplicity,[337] as in “Hamlet” (i. 3):
A similar expression occurs in Beaumont and Fletcher’s “Loyal Subject” (iv. 4):
And thrust your neck i’ th’ noose.”
“It seems,” says Nares, “that woodcocks are now grown wiser by time, for we do not now hear of their being so easily caught. If they were sometimes said to be without brains, it was only founded on their character, certainly not on any examination of the fact.”[338] Formerly, one of the terms for twilight[339] was “cock-shut time,” because the net in which cocks, i. e., woodcocks, were shut in during the twilight, was called a “cock-shut.” It appears that a large net was stretched across a glade, and so suspended upon poles as to be easily drawn together. Thus, in “Richard III.” (v. 3), Ratcliff says:
Much about cock-shut time, from troop to troop,
Went through the army, cheering up the soldiers.”
In Ben Jonson’s “Masque of Gypsies” we read:
For you would not yesternight
Kiss him in the cock-shut light.”
Sometimes it was erroneously written “cock-shoot.” “Come, come away then, a fine cock-shoot evening.” In the “Two Noble Kinsmen” (iv. 1) we find the term “cock-light.”
Wren. The diminutive character of this bird is noticed in “A Midsummer-Night’s Dream” (iii. 1, song):
In “Macbeth” (iv. 2), Lady Macbeth says:
The most diminutive of birds, will fight,
Her young ones in her nest, against the owl.”
Considering, too, that as many as sixteen young ones have been found in this little bird’s nest, we can say with Grahame, in his poem on the birds of Scotland:
Of miracles, stupendously minute;
The numerous progeny, claimant for food
Supplied by two small bills, and feeble wings
Of narrow range, supplied—ay, duly fed—
Fed in the dark, and yet not one forgot.”
The epithet “poor,” applied to the wren by Lady Macbeth, was certainly appropriate in days gone by, when we recollect how it was cruelly hunted in Ireland on St. Stephen’s day—a practice which prevailed also in the Isle of Man.[340]
[152] See Harland and Wilkinson’s “Lancashire Folk-Lore,” 1867, pp. 116-121; “Notes and Queries,” 1st series, vol. viii. p. 224; “Penny Cyclopædia,” vol. vii. p. 206, article “Cirripeda.”
[153] Nares’s “Glossary,” 1872, vol. i. p. 56.
[154] See Harting’s “Ornithology of Shakespeare,” 1871, pp. 246-257.
[155] “Ornithology of Shakespeare,” 1871, p. 252.
[156] See “Philosophical Transactions” for 1835; Darwin’s “Monograph of the Cirrhipedia,” published by the Ray Society; a paper by Sir J. Emerson Tennent in “Notes and Queries,” 1st series, vol. viii. p. 223; Brand’s “Popular Antiquities,” 1849, vol. iii. pp. 361, 362; Douce’s “Illustrations of Shakespeare,” 1839, p. 14.
[157] See Yarrell’s “History of British Birds,” 2d edition, vol. i. p. 218; “Dialect of Leeds,” 1862, p. 329. In “Hamlet” (iii. 2), some modern editions read “ouzle;” the old editions all have weasel, which is now adopted.
[158] Miss Baker’s “Northamptonshire Glossary,” 1854, vol. i. p. 94. See Nares’s “Glossary,” 1872, vol. i. p. 124; and “Richard III.,” i. 1.
[159] Harting’s “Ornithology of Shakespeare,” p. 144; Halliwell-Phillipps’s “Handbook Index to Shakespeare,” 1866, p. 187. The term finch, also, according to some, may mean either the bullfinch or goldfinch.
[160] See Yarrell’s “History of British Birds,” 2d edition, vol. ii. p. 58.
[161] Nares’s “Glossary,” vol. i. p. 156; Singer’s “Shakespeare,” 1875, vol. v. p. 115; Dyce’s “Glossary,” 1876, p. 77.
[162] Mr. Dyce says that if Dr. Latham had been acquainted with the article “Chouette,” in Cotgrave, he would not probably have suggested that Shakespeare meant here the lapwing or pewit. Some consider the magpie is meant. See Halliwell-Phillipps’s “Handbook Index to Shakespeare,” 1866, p. 83. Professor Newton would read “russet-patted,” or “red-legged,” thinking that Shakespeare meant the chough.
[163] “Glossary,” vol. i. p. 162; Singer’s “Notes to Shakespeare,” 1875, vol. v. p. 42.
[164] Massinger’s Works, 1813, vol. i. p. 281.
[165] “Handbook Index to Shakespeare,” 1866, p. 86.
[166] Miss Baker’s “Northamptonshire
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