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Again, there may be a further allusion to the moralities in “King Lear” (ii. 2), where Kent says to Oswald, “take Vanity, the puppet’s, part, against the royalty of her father.”

Then, too, there were the “pageants”—shows which were usually performed in the highways of our towns, and assimilated in some degree to the miracle-plays, but were of a more mixed character, being partly drawn from profane history. According to Strutt, they were more frequent in London, being required at stated periods, such as the setting of the Midsummer Watch, and the Lord Mayor’s Show.[665] Among the allusions to these shows given by Shakespeare, we may quote one in “Richard III.” (iv. 4), where Queen Margaret speaks of

“The flattering index of a direful pageant”

—the pageants displayed on public occasions being generally preceded by a brief account of the order in which the characters were to walk. These indexes were distributed among the spectators, that they might understand the meaning of such allegorical representations as were usually exhibited. In the “Merchant of Venice” (i. 1), Salarino calls argosies “the pageants of the sea,” in allusion, says Douce,[666] “to those enormous machines, in the shapes of castles, dragons, ships, giants, etc., that were drawn about the streets in the ancient shows or pageants, and which often constituted the most important part of them.” Again, in “As You Like It” (iii. 4), Corin says:

“If you will see a pageant truly play’d,
Between the pale complexion of true love
And the red glow of scorn and proud disdain,
Go hence a little, and I shall conduct you,
If you will mark it.”

And in “Antony and Cleopatra” (iv. 14), Antony speaks of “black vesper’s pageants.”

The nine worthies, originally comprising Joshua, David, Judas Maccabæus, Hector, Alexander, Julius Cæsar, Arthur, Charlemagne, and Godfrey of Bouillon, appear from a very early period to have been introduced occasionally in the shows and pageants of our ancestors. Thus, in “Love’s Labour’s Lost” (v. 2), the pageant of the nine worthies is introduced. As Shakespeare, however, introduces Hercules and Pompey among his presence of worthies, we may infer that the characters were sometimes varied to suit the circumstances of the period, or the taste of the auditory. A MS. preserved in the library of Trinity College, Dublin, mentions the “Six Worthies” having been played before the Lord Deputy Sussex in 1557.[667]

Another feature of the Whitsun merry-makings were the Cotswold games, which were generally on the Thursday in Whitsun week, in the vicinity of Chipping Campden. They were instituted by an attorney of Burton-on-the-Heath, in Warwickshire, named Robert Dover, and, like the Olympic games of the ancients, consisted of most kinds of manly sports, such as wrestling, leaping, pitching the bar, handling the pike, dancing, and hunting. Ben Jonson, Drayton, and other poets of that age wrote verses on this festivity, which, in 1636, were collected into one volume, and published under the name of “Annalia Dubrensia.”[668] In the “Merry Wives of Windsor” (i. 1), Slender asks Page, “How does your fallow greyhound, sir? I heard say, he was outrun on Cotsall.” And in “2 Henry IV.”[669] (iii. 2), Shallow, by distinguishing Will Squele as “a Cotswold man,” meant to imply that he was well versed in manly exercises, and consequently of a daring spirit and athletic constitution. A sheep was jocularly called a “Cotsold,” or “Cotswold lion,” from the extensive pastures in that part of Gloucestershire.

While speaking of Whitsuntide festivities, we may refer to the “roasted Manningtree ox with the pudding in his belly,” to which Prince Henry alludes in “1 Henry IV.” (ii. 4). It appears that Manningtree, in Essex, formerly enjoyed the privilege of fairs, by the tenure of exhibiting a certain number of Stage Plays yearly. There were, also, great festivities there, and much good eating, at Whitsun ales and other times. Hence, it seems that roasting an ox whole was not uncommon on such occasions. The pudding spoken of by Prince Henry often accompanied the ox, as we find in a ballad written in 1658:[670]

“Just so the people stare
At an ox in the fair
Roasted whole with a pudding in ’s belly.”

Sheep-shearing Time commences as soon as the warm weather is so far settled that the sheep may, without danger, lay aside their winter clothing; the following tokens being laid down by Dyer, in his “Fleece” (bk. i), to mark out the proper time:[671]

“If verdant elder spreads
Her silver flowers; if humble daisies yield
To yellow crowfoot and luxuriant grass
Gay shearing-time approaches.”

Our ancestors, who took advantage of every natural holiday, to keep it long and gladly, celebrated the time of sheep-shearing by a feast exclusively rural. Drayton,[672] the countryman of Shakespeare, has graphically described this festive scene, the Vale of Evesham being the locality of the sheep-shearing which he has pictured so pleasantly:

“The shepherd king,
Whose flock hath chanc’d that year the earliest lamb to bring,
In his gay baldric sits at his low, grassy board,
With flawns, curds, clouted cream, and country dainties stored;
And whilst the bag-pipe plays, each lusty, jocund swain
Quaffs syllabubs in cans, to all upon the plain,
And to their country girls, whose nosegays they do wear;
Some roundelays do sing; the rest the burthen bear.”

In the “Winter’s Tale,” one of the most delicious scenes (iv. 4) is that of the sheep-shearing, in which we have the more poetical “shepherd-queen.” Mr. Furnivall,[673] in his introduction to this play, justly remarks: “How happily it brings Shakespeare before us, mixing with his Stratford neighbors at their sheep-shearing and country sports, enjoying the vagabond pedler’s gammon and talk, delighting in the sweet Warwickshire maidens, and buying them ‘fairings,’ telling goblin stories to the boys, ‘There was a man dwelt in a churchyard,’ opening his heart afresh to all the innocent mirth, and the beauty of nature around him.” The expense attaching to these festivities appears to have afforded matter of complaint. Thus, the clown asks, “What am I to buy for our sheep-shearing feast?” and then proceeds to enumerate various things which he will have to purchase. In Tusser’s “Five Hundred Points of Husbandry” this festival is described under “The Ploughman’s Feast-days:”

“Wife, make us a dinner, spare flesh neither corne,
Make wafers and cakes, for our sheep must be shorne;
At sheepe-shearing, neighbours none other things crave,
But good cheere and welcome like neighbours to have.”

Midsummer Eve appears to have been regarded as a period when the imagination ran riot, and many a curious superstition was associated with this season. Thus, people gathered on this night the rose, St. John’s wort, vervain, trefoil, and rue, all of which were supposed to have magical properties. They set the orpine in clay upon pieces of slate or potsherd in their houses, calling it a “Midsummer man.” As the stalk was found next morning to incline to the right or left, the anxious maiden knew whether her lover would prove true to her or not. Young men sought, also, for pieces of coal, but, in reality, certain hard, black, dead roots, often found under the living mugwort, designing to place these under their pillows, that they might dream of themselves.[674] It was also supposed that any person fasting on Midsummer-eve, and sitting in the church-porch, would at midnight see the spirits of those persons of that parish who would die that year come and knock at the church-door, in the order and succession in which they would die. Midsummer was formerly thought to be a season productive of madness. Thus, Malvolio’s strange conduct is described by Olivia in “Twelfth Night” (iii. 4) as “A very midsummer madness.” And, hence, “A Midsummer-Night’s Dream” is no inappropriate title for “the series of wild incongruities of which the play consists.”[675] The Low-Dutch have a proverb that, when men have passed a troublesome night, and could not sleep, “they have passed St. John Baptist’s night”—that is, they have not taken any sleep, but watched all night. Heywood seems to allude to a similar notion when he says:

“As mad as a March hare: where madness compares,
Are not midsummer hares as mad as March hares?”

A proverbial phrase, too, to signify that a person was mad, was, “’Tis midsummer moon with you”—hot weather being supposed to affect the brain.

Dog-days. A popular superstition—in all probability derived from the Egyptians—referred to the rising and setting of Sirius, or the Dog-star, as infusing madness into the canine race. Consequently, the name of “Dog-days” was given by the Romans to the period between the 3d of July and 11th of August, to which Shakespeare alludes in “Henry VIII.” (v. 3), “the dog-days now reign.” It is obvious that the notion is utterly groundless, for not only does the star vary in its rising, but is later and later every year. According to the Roman belief, “at the rising of the Dog-star the seas boil, the wines ferment in the cellars, and standing waters are set in motion; the dogs, also, go mad, and the sturgeon is blasted.” The term Dog-days is still a common phrase, and it is difficult to say whether it is from superstitious adherence to old custom or from a belief of the injurious effect of heat upon the canine race that the magistrates, often unwisely, at this season of the year order them to be muzzled or tied up.

Lammas-day (August 1). According to some antiquarians, Lammas is a corruption of loaf-mass, as our ancestors made an offering of bread from new wheat on this day. Others derive it from lamb-mass, because the tenants who held lands under the Cathedral Church of York were bound by their tenure to bring a live lamb into the church at high mass.[676] It appears to have been a popular day in times past, and is mentioned in the following dialogue in “Romeo and Juliet” (i. 3), where the Nurse inquires:

“How long is it now
To Lammas-tide?
Lady Capulet.A fortnight, and odd days.
Nurse. Even or odd, of all days in the year,
Come Lammas-eve at night, shall she be fourteen?”

In Neale’s “Essays on Liturgiology” (2d. ed., p. 526), the Welsh equivalent for Lammas-day is given as “dydd degwm wyn,” lamb-tithing day.

St. Charity (August 1). This saint is found in the Martyrology on the 1st of August: “Romæ passio Sanctaram Virginum Fidei, Spei, et Charitatis, quæ sub Hadriano principe martyriæ coronam adeptæ sunt.”[677] She is alluded to by Ophelia, in her song in “Hamlet” (iv. 5):

“By Gis,[678] and by Saint Charity,
Alack, and fie for shame!” etc.

In the “Faire Maide of Bristowe” (1605) we find a similar allusion:

“Now, by Saint Charity, if I were judge,
A halter were the least should hamper him.”

St. Bartholomew’s Day (August 24). The anniversary of this festival was formerly signalized by the holding of the great Smithfield Fair, the only real fair held within the city of London. One of the chief attractions of Bartholomew Fair were roasted pigs. They were sold “piping hot, in booths and on stalls, and ostentatiously displayed to excite the appetite of passengers.” Hence, a “Bartholomew pig” became a popular subject of allusion. Falstaff, in “2 Henry IV.” (ii. 4), in coaxing ridicule of his enormous figure,

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