Chapter CXLV: Act IV: SCENE 2. Page 601 (5)

"... with garlands gay
Was made the Lady of the Maye."

V. THE FOOL. This character in the morris was the same, in point of dress, as the domestic buffoon of his time. In Mr. Tollett's window he has additional bells tied to his arms and ancles as a morris dancer, but is, in other respects, the English fool of the fifteenth century. Yet the habit of this eccentric person was not the same in all countries, nor even uniform in the same country. Accordingly, he is very differently accoutred in the Flemish print. He has a cap or hood with asses' ears, and a row of bells for the crest; in his left hand he carries a bauble, and over his right arm hangs a cloth or napkin. He wears behind what seems intended for a purse or wallet, with which the fool in the old German prints is generally exhibited. It is certain that there was only one fool in the morris; and therefore Mr. Steevens and Mr. Tollett have erred in supposing the figure No. 1, in the window, to be the _Bavian fool with the bib_. The former gentleman had apparently misconceived the following passage in Fletcher's _Two noble kinsmen_,

"... and next the fool,
The _Bavian_, with long tail and eke long tool."

Here are not _two_ fools described. The construction is, "next comes the fool, i. e. the Bavian fool," &c. This might have been the _idiot_ fool, and so denominated from his wearing a bib, in French _bavon_,[187] because he drivelled. Thus in _Bonduca_, Act V., Decius talks of a "dull _slavering_ fool." The tricks of the Bavian, his tumbling and barking like a dog, suggested perhaps by the conduct of Robert the Devil when disguised as a fool in his well known and once popular romance, were peculiar to the morris dance described in _The two noble kinsmen_, which has some other characters that seem to have been introduced for stage effect, and not to have belonged to the genuine morris. The tail was the fox tail that was sometimes worn by the morris fool; and the long tool will be best understood by referring to the cut of the idiot in the _genuine_ copy of the _dance of death_ usually, though improperly, ascribed to Holbein, and by reflecting on some peculiar properties and qualifications of the idiot character.

What Mr. Tollett has termed a _bib_ was in fact no uncommon part of the male dress in the fifteenth century. Some of the contemporary figures of the Beverley minstrels are so habited, as well as others in the representation of the Whitsun ale at Cirencester.[188] Whatever character the supposed Bavian of the window was, he is also found in the print by Israel on the left hand of the fool, not only in the same habit, but with his hands and feet precisely in similar attitudes. There is no doubt that the morris dance was in some respects a sort of _chironomy_; and Higgins, the English editor of Junius's _Nomenclator_, has actually translated the word _chironomia_ by "the morrise dance."[189] In the absence of some of the other characters of the morris dance, the exertions of the fool appear to have been increased, as we learn from Ben Jonson's _Entertainment at Althrope_:

"But see the hobby-horse is forgot.
Foole, it must be your lot,
To supply his want with faces
And some other buffon graces.
You know how."--

Coryat relates that near Montreuil he saw "_a Whitsuntide foole_ disguised like a foole, wearing a long coate, wherein there were many severall peeces of cloth of divers colours, at the corners whereof there hanged the tailes of squirrels: he bestowed a little peece of plate, wherein was expressed the effigies of the Virgin Mary, upon every one that gave him money: for he begged money of all travellers for the benefite of the parish church."[190] The romance of _The spiritual Quixote_ has a morris fool with a fox's tail depending from his cap, and a sheep bell attached to his hinder parts. In the modern morris dance the fool is continued, but his real character and dress appear to have been long since forgotten. In some places he is called _the Squire_.

VI. THE PIPER. Sometimes called Tom Piper, an obvious and necessary attendant on a morris, and who requires very little illustration. Mr. Steevens has already referred to Drayton for the mention of him; and Spenser, in his third eclogue, speaking of the rimes of bad poets, observes that

"_Tom Piper_ makes as little melodie;"

whence we are to infer that his music was not usually of the very best kind. The resemblance, as to attitude and dress, between the figures of this character in Mr. Tollett's painting and the Flemish print, is remarkable. In both we have the sword and feather. What Mr. Tollett has termed his _silver shield_ seems a mistake for the lower part or flap of his stomacher.

VII. THE HOBBY-HORSE; of which the earliest vestige now remaining is in the painted window at Betley. It has been already observed that he was often omitted in the morris. During the reign of Elizabeth the Puritans made considerable havoc among the May-games, by their preachings and invectives. Poor Maid Marian was assimilated to the whore of Babylon; friar Tuck was deemed a remnant of Popery, and the Hobby-horse an impious and Pagan superstition; and they were at length most completely put to the rout as the bitterest enemies of religion. King James's book of sports restored the lady and the hobby-horse: but during the commonwealth they were again attacked by a new set of fanatics; and, together with the whole of the May festivities, the Whitsun-ales, &c., in many parts of England degraded. At the restoration they were once more revived.[191] The allusions to the omission of the Hobby-horse are frequent in the old plays, and the line

"For O, for O, the hobby-horse is forgot,"

is termed by Hamlet _an epitaph_, which Mr. Theobald supposed, with great probability, to have been satirical. The following extract from a scene in Beaumont and Fletcher's _Women pleased_, Act IV., will best show the sentiments of the puritans on this occasion, and which the author has deservedly ridiculed:

HOB.

Surely I will dance no more, 'tis most ridiculous,
I find my wife's instructions now mere verities,
My learned wife's, she often hath pronounc'd to me
My safety; _Bomby_, defie these sports, thou art damn'd else.
This beast of Babylon I will never back again,
His pace is sure prophane, and his lewd wi-hees,
The sons of Hymyn and Gymyn, in the wilderness.

FAR.

Fie neighbour _Bomby_, in your fits again?
Your zeal sweats, this is not careful, neighbour,
The _Hobby-horse_ is a seemly _Hobby-horse_.

HOB.

The beast is an unseemly, and a lewd beast,
And got at Rome by the Pope's coach-horses,
His mother was the mare of ignorance.

SOTO.

Cobler thou ly'st, and thou wert a thousand coblers
His mother was an honest mare, and a mare of good credit,
Scorn'd any coach-horse the Pope had; thou art foolish,
And thy blind zeal makes thee abuse the beast.

HOB.

I do defie thee and thy foot-cloth too,
And tell thee to thy face, this prophane riding
I feel it in my conscience, and I dare speak it,
This unedified ambling hath brought a scourge upon us.

FAR.

Will you dance no more, neighbour?

HOB.

Surely no,
Carry the beast to his crib: I have renounc'd him
And all his works.

SOTO.

_Shall the Hobby-horse be forgot then?_
The hopeful Hobby-horse, shall he lye founder'd?

HOB.

I cry out on't,
'Twas the forerunning sin brought in those tilt-staves,
They brandish 'gainst the church, the Devil calls _May poles_.

SOTO.

Take up your horse again, and girth him to ye,
And girth him handsomely, good neighbour _Bomby_.

HOB.

I spit at him.

SOTO.

Spit in the horse-face, cobler?
Thou out-of-tune psalm-singing slave; spit in his visnomy?

HOB.

I spit again, and thus I rise against him:
Against this beast, that signify'd destruction,
Foreshew'd i'th' falls of monarchies.

SOTO.

I'th' face of him?
Spit such another spit, by this hand cobler,
I'll make ye set a new piece o' your nose there;
Take't up I say, and dance without more bidding,
And dance as you were wont; you have been excellent,
And are still but for this new nicety,
And your wife's learned lectures; take up the Hobby-horse,
Come, 'tis a thing thou hast lov'd with all thy heart, Bomby,
And wouldst do still, but for the round-breech'd brothers.
You were not thus in the morning; take't up I say,
Do not delay, but do it: you know I am officer,
And I know 'tis unfit all these good fellows
Should wait the cooling of your zealous porridge;
Chuse whether you will dance, or have me execute;
I'll clap your neck i'th' stocks, and there I'll make ye
Dance a whole day, and dance with these at night too.
You mend old shoes well, mend your old manners better,
And suddenly see you leave off this sincereness,
This new hot batch, borrowed from some brown baker,
Some learned brother, or I'll so bait ye for 't,
Take it quickly up.

HOB.

I take my persecution,
And thus I am forc'd a by-word to my brethren.

The Hobby-horse was represented by a man equipped with as much pasteboard as was sufficient to form the head and hinder parts of a horse, the quadrupedal defects being concealed by a long mantle or foot-cloth that nearly touched the ground. The performer on this occasion exerted all his skill in burlesque horsemanship. In Sampson's play of _The vow-breaker_, 1636, a miller personates the hobby-horse; and being angry that the mayor of the city is put in competition with him, exclaims, "Let the major play the hobby-horse among his brethren, and he will, I hope our towne-lads cannot want a hobby-horse. Have I practic'd my reines, my careeres, my pranckers, my ambles, my false trotts, my smooth ambles and Canterbury paces, and shall master major put me besides the hobby-horse? Have I borrowed the forehorse bells, his plumes and braveries, nay had his mane new shorne and frizl'd, and shall the major put me besides the hobby-horse?"

Whoever happens to recollect the manner in which Mr. Bayes's troops in the _Rehearsal_ are exhibited on the stage, will have a tolerably correct notion of a morris hobby-horse. Additional remains of the Pyrrhic or sword dance are preserved in the daggers stuck in the man's cheeks, which constituted one of the hocus-pocus or legerdemain tricks practised by this character, among which were the threading of a needle, and the transferring of an egg from one hand to the other, called by Ben Jonson _the travels of the egg_.[192] To the horse's mouth was suspended a ladle for the purpose of gathering money from the spectators. In later times the fool appears to have performed this office, as may be collected from Nashe's play of _Summer's last will and testament_, where this stage direction occurs, "Ver goes in and fetcheth out the Hobby-horse and the morris daunce who daunce about." Ver then says, "About, about, lively, put your horse to it, reyne him harder, jerke him with your wand, sit fast, sit fast, man; _foole, holde up your ladle there_." Will Summers is made to say, "You friend with the hobby-horse, goe not too fast, for feare of wearing out my lord's tyle-stones with your hob-nayles." Afterwards there enter three clowns and three maids, who dance the morris, and at the same time sing the following song:

"Trip and goe, heave and hoe,
Up and downe, to and fro,
From the towne, to the grove,
Two and two, let us rove,
A maying, a playing;
Love hath no gainsaying:
So merrily trip and goe."

Lord Orford in his catalogue of English engravers, under the article of Peter Stent, has described two paintings at Lord Fitzwilliam's on Richmond green which came out of the old neighbouring palace. They were executed by Vinckenboom, about the end of the reign of James I., and exhibit views of the above palace; in one of these pictures a morris dance is introduced, consisting of seven figures, viz. a fool, a hobby-horse, a piper, a Maid Marian, and three other dancers, the rest of the figures being spectators. Of these the first four and one of the dancers are reduced in the annexed plate from a tracing made by the late Captain Grose. The fool has an inflated bladder or eel-skin with a _ladle_ at the end of it, and with this he is collecting money. The piper is pretty much in his original state; but the hobby-horse wants the legerdemain apparatus, and Maid Marian is not remarkable for the elegance of her person.

Dr. Plott, in his _History of Staffordshire_, p. 434, mentions that within memory, at Abbot's or Paget's Bromley, they had a sort of sport which they celebrated at Christmas, or on new year and twelfth days, called the _Hobby-horse dance_, from a person who carried the image of a horse between his legs made of thin boards, and in his hand a bow and arrow. The latter passing through a hole in the bow, and stopping on a shoulder, made a snapping noise when drawn to and fro, keeping time with the music. With this man danced six others, carrying on their shoulders as many rein-deer heads, with the arms of the chief families to whom the revenues of the town belonged. They danced the heys and other country dances. To the above hobby-horse dance there belonged a pot, which was kept by turns by the reeves of the town, who provided cakes and ale to put into this pot; all people who had any kindness for the good intent of the institution of the sport giving pence apiece for themselves and families. Foreigners also that came to see it contributed; and the money, after defraying the expense of the cakes and ale, went to repair the church and support the poor; which charges, adds the doctor, are not now perhaps so cheerfully borne.

A short time before the revolution in France, the May games and morris dance were celebrated in many parts of that country, accompanied by a fool and a _hobby-horse_. The latter was termed _un chevalet_; and, if the authority of Minsheu be not questionable, the Spaniards had the same character under the name of _tarasca_.[193]

VIII. THE DRAGON. The earliest mention of him as a part of the morris dance we have already seen in the extract from Stubbes's _Anatomie of abuses_; and he is likewise introduced in a morris, in Sampson's play of the _Vowbreaker, or fayre maid of Clifton_, 1633, where a fellow says, "I'll be a _fiery dragon_:" on which, another, who had undertaken the hobby-horse, observes that he will be "a thund'ring _Saint George_ as ever rode on horseback." This seems to afford a clue to the use of this dragon, who was probably attacked in some ludicrous manner by the hobby-horse saint, and may perhaps be the _Devil_ alluded to in the extract already given from Fetherstone's _Dialogue against dancing_.

IX. THE MORRIS DANCERS. By these are meant the common dancers in the late morrises, and who were not distinguished by any particular appellation, though in earlier times it is probable that each individual had his separate title. If there were any reason for a contrary opinion, it might depend on the costume of numbers 10 and 11 in Mr. Tollett's window, which may perhaps belong to the present class. There are likewise two similar figures in the Flemish print; and the coincidence in their attitudes is no less remarkable than it is in those of some of the other characters. The circumstance too of one only wearing a feather in his hat is deserving of notice, as it is the same in both the representations. The streamers which proceed from their sleeves and flutter in the wind, though continued in very modern times, were anciently not peculiar to morris dancers, examples of them occurring in many old prints.[194] In the reign of Henry the Eighth the morris dancers were dressed in gilt leather and silver paper, and sometimes in coats of white spangled fustian. They had purses at their girdles, and garters to which bells were attached.[195] The latter have been always a part of the furniture of the more active characters in the morris, and the use of them is of great antiquity. The _tinkling ornaments of the feet_ among the Jewish women are reprobated in _Isaiah_ iii, 16, 18. Gratius Faliscus, who wrote his poem on hunting in the time of Augustus, has alluded to the practice of dancing with bells on the feet among the Egyptian priests of Canopus, in the following lines:

"Vix operata suo sacra ad Bubastia lino
Velatur _sonipes æstivi turba Canopi_."

_Cynegeticon_, lib. i. 42.

There is good reason for believing that the morris bells were borrowed from the genuine _Moorish dance_; a circumstance that tends to corroborate the opinion that has been already offered with respect to the etymology of the _morris_. Among the beautiful habits of various nations, published by Hans Weigel at Nuremberg, in 1577, there is the figure of an African lady of the kingdom of Fez in the act of dancing, with bells at her feet. A copy of it is here exhibited:

The number of bells round each leg of the morris dancers amounted from twenty to forty.[196] They had various appellations, as the fore-bell, the second bell, the treble, the tenor, the base, and the double bell. Sometimes they used trebles only; but these refinements were of later times.[197] The bells were occasionally jingled by the hands, or placed on the arms or wrists of the parties. Scarves, ribbands, and laces hung all over with gold rings, and even precious stones, are also mentioned in the time of Elizabeth.[198] The miller, in the play of the _Vowbreaker_, says he is come to borrow "a few ribbandes, bracelets, eare-rings, wyertyers, and silke girdles and handkerchers for a morice and a show before the queene." The handkerchiefs, or napkins[199] as they are sometimes called, were held in the hand, or tied to the shoulders.[200] In Shirley's _Lady of pleasure_, 1637, Act I., Aretina thus inveighs against the amusements of the country:

"... to observe with what solemnity
They keep their wakes, and throw for pewter candlestickes,
How they become the morris, with whose bells
They ring all into Whitson ales, and sweate
Through twenty scarffes and napkins, till the Hobby horse
Tire, and the maide Marrian dissolv'd to a gelly,
Be kept for spoone meate."

The early use of the feather in the hat appears both in Mr. Tollett's window and the Flemish print; a fashion that was continued a long time afterwards.[201] Sometimes the hat was decorated with a nosegay,[202] or with the herb _thrift_, formerly called _our lady's cushion_.[203]

Enough has been said to show that the collective number of the morris dancers has continually varied according to circumstances, in the same manner as did their habits. In Israel's print they are nine: in Mr. Tollett's window, eleven. Mr. Strutt has observed that on his sixteenth plate there are only five, exclusive of the two musicians: but it is conceived that what he refers to is not a morris, but a dance of fools. There is a pamphlet entitled _Old Meg of Herefordshire for a Mayd Marian and Hereford town for a morris dance, or 12 morris dancers in Herefordshire of 1200 years old_, 1609, 4to.[204] In the painting by Vinckenboom, at Richmond, there are seven figures. In Blount's _Glossographia_, 1656, the _Morisco_ is defined, "a dance wherein there were usually five men and a boy dressed in a girles habit, whom they call Maid Marrian." The morris in Fletcher's _Two noble kinsmen_ contains some characters, which, as they are nowhere else to be found, might have been the poet's own invention, and designed for stage effect:

"The chambermaid, and serving man by night
That seek out silent hanging: Then mine host
And his fat spouse, that welcomes to their cost
The gauled traveller, and with a beckning
Informs the tapster to inflame the reck'ning.
Then the beast-eating clown, and next the fool,
The _Bavian_, with long tail and eke long tool,
_Cum multis aliis_, that make a dance."

Mr. Ritson has taken notice of an old wooden cut "preserved on the title of a penny-history, (_Adam Bell, &c._) printed at Newcastle in 1772," and which represents, in his opinion, a morris dance consisting of the following personages: 1. A bishop. 2. Robin Hood. 3. The potter or beggar. 4. Little John. 5. Friar Tuck. 6. Maid Marian. He remarks that the execution of the whole is too rude to merit a copy, a position that is not meant to be controverted; but it is necessary to introduce the cut in this place for the purpose of correcting an error into which the above ingenious writer has inadvertently fallen. It is proper to mention that it originally appeared on the title page to the first _known_ edition of _Robin Hood's garland_, printed in 1670, 18mo.

Now this cut is certainly _not_ the representation of a morris dance, but merely of the principal characters belonging to the garland. These are, Robin Hood, Little John, _queen Catherine_, the bishop, the _curtal frier_, (not Tuck,) and the beggar. Even though it were admitted that Maid Marian and Friar Tuck were intended to be given, it could not be maintained that either the bishop or the beggar made part of a morris.

There still remains some characters in Mr. Tollett's window, of which no description can be here attempted, viz. Nos. 1, 4, 6, and 7. As these are also found in the Flemish print,[205] they cannot possibly belong to Robin Hood's company; and therefore their learned proprietor would, doubtless, have seen the necessity of re-considering his explanations.[206] The resemblance between the two ancient representations is sufficiently remarkable to warrant a conjecture that the window has been originally executed by some foreign artist; and that the panes with the English friar, the hobby-horse, and the may-pole have been since added.

Mr. Waldron has informed us that he saw in the summer of 1783, at Richmond in Surrey, a troop of morris dancers from Abingdon, accompanied by a fool in a motley jacket, who carried in his hand a staff about two feet long, with a blown bladder at the end of it, with which he either buffeted the crowd to keep them at a proper distance from the dancers, or played tricks for the diversion of the spectators. The dancers and the fool were Berkshire husbandmen taking an annual circuit to collect money.[207] Mr. Ritson too has noticed that morris dancers are yet annually seen in Norfolk, and make their constant appearance in Lancashire. He has also preserved a newspaper article respecting some morris dancers of Pendleton, who paid their annual visit to Salford, in 1792;[208] and a very few years since, another company of this kind was seen at Usk in Monmouthshire, which was attended by a boy Maid Marian, a hobby-horse, and a fool. They professed to have kept up the ceremony at that place for the last three hundred years. It has been thought worth while to record these modern instances, because it is extremely probable that from the present rage for refinement and innovation, there will remain, in the course of a short time, but few vestiges of our popular customs and antiquities.

FOOTNOTES:

[156] This will hereafter appear to be a mistake.

[157] Strutt's _Sports and pastimes of the people of England_, p. 171.

[158] Hist. of Musick, vol. iv. 388, by Sir John Hawkins, who was clearly of opinion that the morris dance was derived from the Moors.

[159] Etymologicum Anglicanum. In further corroboration of this deduction of the morris dance, the following words may be adduced; MORESQUE a kind of grotesque painting, sometimes called Arabesque, and used in embroidery and damasking. MORISCLE, and MOURICLE, a gold coin used in Spain by the Moors, and called in the barbarous Latin of the fourteenth century _morikinus_. See Carpentier, _Suppl. ad glossar._ _Ducangian._ v. _Morikinus._ MORRIS WAX, called likewise _mores wax_, in the _Garbelling of spices_, 1594, 4to. To these the _morris-pike_ may perhaps be added. It is probable that the English terms _morris_ and _morice_ have been corrupted from _mores_, the older and more genuine orthography.

[160] Tabourot _Orchesographie_, 1589, 4to, p. 97, where the several postures of this dance are described and represented. The Pyrrhic dance appears to have travelled from Greece into the north. See Olaus Magnus, _De gentibus septentrionalibus_, lib. xv. c. 23, 24, 25, 26, 27.

[161] It is remarkable that the same practice should be found in the island of Ceylon. Knox tells us that "A woman takes two naked swords, under each arm one, and another she holds in her mouth, then fetcheth a run and turns clean over, and never touches the ground till she lights on her feet again holding all her swords fast."--_Hist. of Ceylon_, p. 99.

[162] Wise's _Enquiries concerning the first inhabitants, language, &c. of Europe_, p. 51.

[163] Jean Tabourot, canon and official of the cathedral of Lengres, published his _Orchesographie et traicté en forme de dialogue par lequel toutes personnes peuvent facilement apprendre et practiquer l'honneste exercice des dances_, 1589, 4to, under the anagrammatized name of _Thoinot Arbeau_. He died in 1595, at the age of 66. His work is equally curious and uncommon.

[164] But the French morris can be traced to a much earlier period. Among other instances of the prodigality of Messire Gilles de Raiz, in 1440, _morris dancers_ are specified. Lobineau, _Hist. de Bretagne_, ii. 1069. In the accounts of Olivier le Roux, treasurer to Arthur III. duke of Bretagne in 1457, is this article: "à certains compaignons qui avoient fait plusieurs esbatemens de _morisques_ et autres jeux devant le due à Tours, vi. escus."--Id. 1205. At a splendid feast given by Gaston de Foix at Vendôme in 1458, "foure yong laddes and a damosell attired like savages daunced (by good direction) an excellent _Morisco_, before the assembly."--Favines _Theater of honour_, p. 345; and see Carpentier, _Suppl. ad glossar._ _Ducangian._ v. _Morikinus._ Coquillart, a French poet, who wrote about 1470, says that the Swiss danced the _Morisco_ to the beat of the drum. _Œuvres_, p. 127.

[165] Peck's _Memoirs of Milton_, 135. What this writer has added on the subject of the morris dance is not very interesting; but he is certainly mistaken in his explanation of _five, seven, or nine men's morris_.

[166] Ritson's _Robin Hood_, I. cii.

[167] See particularly Stubbes's _Anatomie of abuses_, p. 109, edit. 1595, 4to.

[168] In Laneham's _Letter from Kenilworth or Killingworth castle_, a bride-ale is described, in which mention is made of "a lively Moris dauns, according too the auncient manner: six dauncerz, Mawdmarion, and the fool."

[169] See Stowe's _Survay of London_, 1618, 4to, p. 161.

[170] Stubbes's _Anatomie of abuses_, p. 107.

[171] Fetherston's _Dialogue agaynst light, lewde, and lascivious dauncing_, 1582, 12mo, sign. D. 7. See a passage to the same purpose in Northbrooke's _Treatise against dicing, dancing, &c._ 1597, 4to, fo. 68 b.

[172] Albion's _England_, 1612, p. 121.

[173] Steevens's _Shakspeare_, at the end of the play of _King Henry IV. part I_.

[174] There is a remarkable instance of the corruption that has been gradually introduced into popular ceremonies, in the celebration of the gunpowder-plot; in which, formerly, Guy Faux was ignominiously carted, in company with the Pope and the Devil, all of whom were afterwards consigned to the flames: whereas at present we have only the image of a fellow, or sometimes a real boy bedizened with gilded rags, ruffles, and powdered periwig, under the appellation of _Poor Guy_, for whom the attendants seem to crave charity. The Pope had been long dismissed by proclamation or act of parliament; and the Devil is probably forgotten by some, or become an object of too much terror with others to be sported with.

[175] Churchwardens' accounts at Kingston, in Lysons's _Environs of London_, vol. i. p. 227. The learned author of this interesting work has remarked that he had found no entries at Kingston relating to the May games, after the 29 Hen. VIII.; but they certainly continued, as parochial ceremonies, in other places to a much later period. In the churchwardens' accounts of Great Marlow it appears that dresses for the morris dance were lent to neighbouring parishes so late as 1629. See Langley's _Antiquities of Desborough_, 4to, 1797.

[176] Fordun's _Scotichronicon_, 1759, folio, tom. ii. p. 104.

[177] Polyolbion, song xxvi.

[178] Ben Jonson's _Works_, 1756, vol. vi. p. 93.

[179] _Marian_, or as it is more frequently written _Marion_, is not formed, as some French writers have supposed, from Mary and Ann, but more probably from _Mariamne_ the wife of Herod, whose name seems borrowed from that of Miriam מרים the prophetess, the sister of Aaron. Miriam is said to come from a Syrian word signifying _mistress_, or from מרר _marar_, _bitterness_. The name of _Mary_, evidently contracted from _Miriam_ or _Mariamne_, does not occur till the time of the daughter of Joachim and Anne, the mother of Christ, at which period we find other _Maries_ in the New Testament. It is remarkable that _Maria_, from Marius, should not occur among the Roman names of women, in like manner as we have Julia, Cornelia, Fulvia, Proba, Valeria, &c., from Julius, Cornelius, Fulvius, Probus, and Valerius. The facetious and eccentric Edmund Gayton, in the dedication to his _Festivous notes on Don Quixote_, speaks of _Mayd Myriam_. He perhaps imagined that the morris dance had been suggested by the prophetess and her dancing women with their timbrels.

[180] Steevens's _Shaksp._ viii. 530.

[181] Waldron's _History of the Isle of Man_, 12mo, p. 95, where he has described the mock battle between the queens.

[182] Strype's Eccl. _memorials_, iii. 376.

[183] The honestie of this age, 1615, 4to, p. 35.

[184] What these ladies exactly were is not easy to comprehend. _Whitepot_ in old cookery was a kind of custard, made in a crust or dish with cream, eggs, pulse of apples, sugar, spices, and sippets of _white_ or manchet bread. It is possible therefore that Maid Marian, being occasionally personated by a kitchen malkin or cook wench, obtained the title of a _white-pot queen_.

[185] Golden books of the leaden Goddes, 1577, 4to, fo. 30.

[186] Greene's _Quip for an upstart courtier_, sig. D. 3.

[187] _Bavon_ or _bavette_, is from _bave_, spittle. Hence the middle age Latin term for a fool, _bavosus_. See Ducange _Gloss_. This is a very plausible etymology, and might stand well enough by itself; but it must not be concealed that in some of the Northern languages _Bavian_ signifies a monkey or _baboon_. Whether Fletcher, who seems the only writer that has made use of this word, applied it to the fool in question on account of the _monkey tricks_ that he played, remains to be ascertained. If we could discover the names of the characters in a French, Dutch, or German morris of this time, some light might be thrown on the subject.

[188] See Carter's _Specimens of ancient sculpture and painting_, vol. ii. pl. xiii. Nos. 5 and 13, and pl. xxxvi.

[189] Edit. 1585, 12mo, p. 299. See likewise the article _chironomus_ in p. 521.

[190] Coryat's _Crudities_, 1611, 4to, p. 9.

[191] Yet, in the reign of Charles the Second, Thomas Hall, another puritanical writer, published his _Funebria Floræ, the Downfall of May-games_, 1661, 4to, in which, amidst a great deal of silly declamation against these innocent amusements, he maintains that "Papists are forward to give the people May-poles, and the Pope's holiness with might and main keeps up his superstitious festivals as a prime prop of his tottering kingdome." That "by these sensual sports and carnal-flesh-pleasing wayes of wine, women, dancing, revelling, &c., he hath gained more souls, than by all the tortures and cruel persecutions that he could invent." He adds, "What a sad account will these libertines have to make, when the Lord shall demand of them, where wast thou such a night? why, my Lord, I was with the prophane rabble, stealing May-poles; and where wast thou such a day? why, my Lord, I was drinking, dancing, dallying, ranting, whoring, carousing, &c."

[192] _Every man out of his humour_, Act II. Scene 1.

[193] Spanish dictionary.

[194] See the plate of ancient cards, xxxi. in Strutt's _Sports and pastimes_, where a _knave_ or attendant is dressed in this manner.

[195] Churchwardens' accounts at Kingston, in Lysons's _Environs of London_, i. p. 227, 228.

[196] Stubbes's _Anatomie of abuses_, ubi supra.

[197] See Rowley's _Witch of Edmonton_, 1658, Act I. Scene 2.

[198] Stubbes, ubi supra. _Knight of the burning pestle_, Act IV.

[199] Stubbes, ubi supra. Jonson's _Masque of gipsies_. Holme's _Academy of armory_, book iii. p. 169, whence the following cut has been borrowed, which, rude as it is, may serve to convey some idea of the manner in which the handkerchiefs were used.

[200] _Knight of the burning pestle_, Act IV.

[201] Vox graculi, 1623, p. 49.

[202] Fletcher's _Women pleased_, Act IV.

[203] Greene's _Quip for an upstart courtier_, sign. B. 2.

[204] This tract is mentioned by Sir William Temple, in his Essay on health and long life, from the communication of Lord Leicester. Howel, in his _Parly of beasts_, 1660, has recorded that "of late years ther were call'd out within three miles compasse ten men that were a thousand years between them, one supplying what the other wanted of a hundred years apiece, and they danc'd the _morris_ divers hours together in the market place with a taborer before them 103 years old, and a maid _Mariam_ 105."--p. 122. This seems to allude to the same event.

[205] Compare No. 1, with the left hand figure at bottom in the print; No. 4, with the left hand figure at top; No. 6, with the right hand figure at bottom; and No. 7, with the right hand figure at top. This last character in the Flemish print has a flower in his hat as well as No. 4. Query if that ornament have been accidentally omitted by the _English engraver_?

[206] This gentleman's death is recorded to have happened Oct. 22nd, 1779. Gough's _Brit. topogr._ ii. 239.

[207] See his continuation to _Ben Jonson's sad shepherd_, 1782, 8vo, p. 255, a work of very considerable merit, and which will materially diminish the regret of all readers of taste that the original was left unfinished.

[208] _Robin Hood_, I. cviii.

INDEX.

"Commoditas homines studiosos invitavit librorum _Indices_
comparare, quibus minimo labore ad id quod quisque quæreret,
tanquam manu duceretur."--CICERO AD ATTICUM.

A. PAGE

Æsop's Fables, a ludicrous cut in some editions of them, 12

Æsopian fables, account of a collection of them made during the middle
ages, 361

----, moralized, 523

Affiancing, some account of this ancient ceremony, 67, 248

Ages of man, prints of them, 185

Alexander the great, his good savour, 150

----, his arms as one of the nine worthies, 150

Althea's firebrand, inaccurately alluded to by Shakspeare, 278

Alligator, a conjecture on the derivation of this word, 436

Alliterative and anapæstic lines, in Love's labour's lost, not
Shakspeare's, 133

Amaimon, the name of a Devil, 264

Ambrose, Saint, a hymn by him against nocturnal illusions, 128

Amulets against fascination, 303, 305

----, phallic, 304

Anachronisms, those of Shakspeare pointed out, 488

Angels, cracked, 460

Anglo-Norman song, 447

Apemantus, his character whence borrowed, 356

Apollonius Tyaneus, account of this romance, 398

April and May, to smell, 45

Appeal for treason, the ceremony observed in the combats on that
occasion, 317, 487

Arbeau Thoinot, his Orchesographie, a curious treatise on dancing, 135,
301

Archee or Archy Armstrong, the fool of James I. and Charles I., 502,
505, 513

Armin, Robert, an imitator of Shakspeare in his play of The Valiant
Welshman, 476

Arthur's show, some account of it, 283

Artillery, names given to it formerly, 261

Ars moriendi, account of a print copied from it, 325

Arvals, description of them, 439

Asmodeus, the demon of nocturnal illusions, 129

Ass, receipt to make a man resemble one, 119

Autolycus, not a minstrel, 216

----, whence his character taken, 217

B.

Bacon, Lord, story from his apophthegms, 276

Badge, account of this ancient mark of servitude, 205

----, representation of it, 209

Bagpipe woollen, the true reading, 162

Banks, some account of him and his horse, 131

Banshee, an Irish fairy, 237

Bardolph, his face, the subject of Falstaff's wit, 267

Bartholomæus de proprietatibus rerum, account of this book, 487

Basilisco oaths, 247

Basilisk, its fabulous property, 321

Batman upon Bartholome, its original price, 6

Battles, the absurd way of representing them on the ancient stage, 296

Bauble, the fool's, description of various sorts of it, 386, 509

Bavian fool, 593

Beadles, their ancient dress, 293

Bear-licking, popular notions respecting it, 330

Beaufort, Cardinal, strictures on a celebrated painting of his death, 325

Beaumont and Fletcher, one edition of their plays curious for the
prints, 489

Bed, blessing of the bridal, 485

Bellona's bridegroom, this expression defended, 228

Bell-savage, sign of the, explained, 61

Belly and the members, origin of this apologue investigated, 361

Benzoria, a sort of witch or fairy, 236

Bercheur or Berchorius, his Repertorium morale, 528

----, whether the author of the Gesta Romanorum, _ib._

Bermuda, island of, 3

Betrothing, some account of this ancient ceremony, 67, 248

Bestiarium, an old work on natural history, 522, 524

Bills, the setting up of, 101

Bird-bolts, explained, 102

Blessing of beds, an ancient ceremony, 126

---- of chambers, _ib._

Blue coats, 205

Boccaccio's novels, a very ancient English translation of them pointed
out, 103

----, account of the English translation of his Decameron, 382

Bond story in the Merchant of Venice, remarks on it, 171

Boot, torture of the, explained, 21

Bow, the awkward use of it by crowkeepers, 417

Bows, materials of which they were made in England, 244

Bras, the ancient pronunciation of this French word ascertained, 310

Brawl, account of this ancient dance, 134

Brazen tombs, meaning of this expression, 130

Breaking the little finger, a token of amorous dalliance, 262

Breeches bible, particulars relating to it, 233

Bridal-bed, ceremony of blessing it, 123

Bromyard, John, an old English preacher, his Summa prædicantium
described, 526

Brothels, signs anciently belonging to them described, 397

----, jesters employed in them, 358, 378

Budha, a deity of Ceylon, story of him and a hare, 10

Bunyan, John, supposed to have been indebted to an old romance for the
materials of his Pilgrim's progress, 256

Burial service, particulars of it before the reformation, 222

C.

Cakes and ale, old custom relating to them, 55

Canary dance, description of, 136

Candlesticks, remarks on ancient ones, 308

Cardanus's comforte, a book used by Shakspeare, 461

Carol, an ancient one, 217

Carpet-knights, account of, 66

Casket story in the Merchant of Venice, remarks on it, 169, 486

Cat, why the favourite of witches, 243

Catullus, a remarkable coincidence between a passage in this author and
one in Shakspeare, 461

Cavendish's life of Wolsey, account of, 159

Cavendish, some remarks on his life of Wolsey, 344

Caxton's chronicle, some account of it, 260

----, his chess book not didactic, 522

----, not the author of a chronicle ascribed to him, 422, 512

Ceremonies, popular, modern corruptions in them noticed, 586

Chastellain, George, his account of the manner in which the duke of
Gloucester was put to death, 322

China dishes, when first brought into England, 78

Chopine, description of it, 457

Chrisome explained, 299

Cilhart, the favourite hound of Prince Llewellyn, a story relating to
him, 547

Clarence, duke of, the manner of his death, 323

Cleopatra, her trick upon Marc Antony, 369

Clerk of Chatham, in King Henry the Sixth, an unreal character, 327

Clown, various remarks on this character, 32, 74, 94, 151, 167, 191,
200, 224

Clowns in old plays, classification of them, 499

----, various remarks on, 374, 387, 398, 483, 497

----. See Fool.

Clocks, their antiquity in England, 138

Coin with cracked edges, hoarded by usurers, 459

Colevile of the dale, 289

Combats, single, in cases of treason, ceremonies observed in them, 317,
487

Comet, a medal stricken to commemorate that which appeared on the death
of Julius Cæsar, 364

Concert improperly used for consort, 314

Conde Lucanor, a Spanish collection of novels, 212

Conscience, its dispute with the flesh, the subject of an old Monkish
fable, 157

Contest devots, account of them, 521

Copley, Antony, account of a work written by him, 210

Cornelius's tub, uncertainty of the origin of this expression, 357

Coroners, their conduct satirized by Shakspeare, 476

Corporal of the field, his office explained, 138

Coryat, a curious quotation from him, 330

Cotgrave, the first edition of his valuable dictionary, 140

Coventry pageants, remarks on, 217

---- plays, an extract from one of them, 463

Covercle, whence derived, 282

Cressets, some account of them, 264

Cressida, how punished for her falsehood to Troilus, 299

Critic on Shakspeare, a female one censured, 379

Cross-gartering, fashion of explained, 57

Crotalum, account of this ancient instrument, 509

Crowns of the sun, the coins so called described, 396

Crying clubs, illustration of that custom, 344

Cude Yeddy, an idiot so called, 416

Cupid, his golden shaft, 53, 484

----, his blindness, 137

----, why called a hangman, 107, 146

Curry favour, origin of this phrase, 291

Curtain formerly placed before pictures, 53

Cymbeline, remarks on the story of this play, 381

D.

Dagonet, the fool of King Arthur in the romances of the round table,
some account of him, 283, 286

Daiphantus, a work by Scoloker, in which Hamlet is alluded to, 465, 478

Dame Habunde or Abunde, a fairy, 237

Dance of death, account of a remarkable one, 81

Dancing rapier, 193

Danes, formerly remarkable for hard drinking, 449

Death and the fool, a subject borrowed from the Dance of death, 80

---- and the lady, old representations of, 478

Dedications, prices of in the time of Elizabeth, 573

Deer, killed by ladies in ancient times, 139

Despenser, Hugh le, his arraignment in the original form, 274

Devices, whence those of the knights in Pericles were borrowed, 392

Devil, his roaring, 258

----'s ruff-shop, print of it, 220

----s invoked by witches, account of them, 315

Diana, a name for Hecate in modern times, 235

----, patroness of witches, 236

Dictionary, the first French and English, by Hollyband, afterwards
amplified by Cotgrave, 140

Dieu et mon droit, when this motto was originally used, 248

Dragon on Chinese porcelain, 18

----, a character in the morris dance, 600

Drinking horns, formerly carried by lunatics, &c., 415

Drinking pots with hoops, explained, 327

Duke, its ancient meaning, 111

Dun is in the mire, an old proverbial phrase, 425

E.

Edward shovel-boards, 33

Ego et rex meus, remarks on this expression, 341

Elbow, rubbing the, a popular superstition, 273

Elf-knots, 426

Elf-locks, _ib._

Elf-stones, _ib._

Elizabeth, Queen, a compliment to her, 341

Eloisa, some compositions by her noticed, 472

Ephesiacs of Xenophon, a romance which is supposed to have furnished a
material incident in the story of Romeo and Juliet, 436

Essex, Earl of, a supposed allusion to his death, 250

Euriphile, whence the name borrowed by Shakspeare, 378

Evil spirits, how the Greeks expelled them from dying persons, 326

Eyes, green, 30

----, grey, _ib._

F.

Fair lady of Norwich, origin of a curious story so entitled, 545

Fairies, delight in cleanliness, 122

----, miscellaneous remarks on them, 238

----, their blessing, 127

----, their immortality defended, 114

----, their rings, 111, 114

----, their song, 51

Falling of the axe, this expression examined, 187

Falstaff, the severity of his punishment censured, 294

Farmer, Doctor, a mistake in a note by him pointed out, 571

Fascination against the influence of evil eyes, remarks on it, 303

Fashions in dress, the English always remarkable for their variation of
them, 105

Fate, used by Shakspeare for fortune, and not death according to
Warburton, 146

Father friar, this expression explained, 84

Favel, the ancient name of a horse, 291

Fica, 303

Ficus, remarks on the disease so called, 304

Fig, making the, explained, 302

Fig of Spain, 307

Finis coronat opus, remarks on this phrase, 199

Florio's First fruits, some account of that book, 140

Fool, death's, 80

----, fortune's, 146

----, time's, 273

----, various remarks on this character, 18, 55, 74, 94, 198, 200

----, Charles the First's, 502

----, city and corporation, 500

----, court, 502

----, domestic, 499, 501

----, Duke of Mantua's, story of him, 505

----, Earl of Suffolk's, 503

----, female, 500

----, fortune's, 431

----, in brothels, 358, 500

----, in dumb shows at fairs, 501

----, in the mysteries and moralities, 500

----, Lord Mansel's, 504

----, Louis the Thirteenth's, 505

----, morris, 501, 592

----, mountebank's, 501

----, Pope's, _ib._

----, proverb relating to him explained, 506

----, Sir Thomas More's, 513

----, stage, his office, 507, 514

----, story of a Welsh one, 503

----, strumpet's, 358, 500

----, tavern, 500

----, various remarks on this character, 358, 412, 419, 483, 497

----, Whitson ale, 501

----, William the Conqueror's, _ib._

Fool's bauble, 509

---- cockscomb, 508

---- combat with death, 394

---- dress, 507, 510

---- general mode of behaviour, 504

---- punishment, 505

Fools, begged, 148

----, pre-eminence of those in Shakspeare's plays, 514

----, their decline, 503, 515

----. See Clowns.

Fortunatus, origin of the story of this romance, 553

Fox-tails, how worn by ladies in the reign of Edward I., 512

French crown, 76

---- songs and ballads, 446, 472, 474

Friar and the boy, a popular story used by Shakspeare, 14

Frier John and frier Richard, a curious story so entitled, 392, 545

---- Tuck, origin of his name, 587

Funeral feasts, borrowed from the ancients, 439

G.

Gascoine, justice, an anachronism concerning him, 293

Gentlemen, what they formerly were, 214, 223

----, who were so formerly, 429, 476, 486

Gesta Romanorum, 400, 401, 402, 403, 420

---- ----, some account of it, 167, 170

---- ----, a curious story from an ancient English MS. of it, 172

---- ----, analysis of a work under this name composed in England, 537

---- ----, inquiries concerning its authors, 527, 571

---- ----, manuscripts of it, 531, 536, 574

---- ----, printed editions of it, 532, 571, 575

---- ----, question examined whether composed in England, 535

---- ----, stories from it used in the pulpit, or otherwise to entertain
the monks, 527

---- ----, translations of it, 533, 571

---- ----, two works under this name, 520

Ghosts retire at the approach of day, 120

----, damned, 466

----, reasons for their appearing, 450

----, why exclusively addressed by scholars, 438

----, why said to fast, 451

----, why they disappeared at the dawn of day, 452

Gilliflower, applied by Perdita to a painted woman, 219

Gilt two-pences, 290

Ginger, in great use formerly as a stomachic, 88

Girdle, turning of the, explained, 109

Gis, a corruption of Jesus, 475

Gloucester, duke of, discordant accounts of his death, 322

Giving hands, an old expression for bestowing applause, 129

Glow-worm's fire, 118

Goblin, what it signified in former times, 242

Golden legend, a story from that work, 239

Gowrie conspiracy, 213

Gower, supposed to have translated the Gesta Romanorum into English, 572

Grace, when this title was first used, 320

Grammatical errors in Shakspeare, 181

Gray, Mr., borrowed from Shakspeare, 343

Green sleeves, an old ballad, 37

---- eyes, less uncommon formerly than at present, 433

---- sleeves, some account of an old time so called, 484

Guido's painting of Bacchus and Ariadne, remarks on, 29

Guido of Colonna, his Troy book not an original work as usually
supposed, but borrowed from Benoit de Saint More a Norman
French poet, 353

Guillelmus Hilacensis, singular title bestowed on himself, 523

Guy Faux, how treated by the modern populace, 586

H.

Halfpence, tearing pieces into, explained, 107

Halifax gibbet, 188

Hamlet, alluded to in Scoloker's Daiphantus, 478

----, enigmatical speech by him explained, 469

Hamlet, his madness, 456

Harlequin, the successor to the old vice of our theatres, 288

Harry ten shillings, when first coined, 283

Hay, an ancient dance, a sort of brawl, 146

Heaping coals of fire on a person's head, explanation of this phrase, 423

Heart, the seat of courage among the ancients, 365

Hearts and hands, 482

Hecate, how accented by Shakspeare, 122

----, her team, 121

----, miscellaneous remarks on, 235

Helmet, some observations on this part of ancient armour, 269

Henbane, 452

----, Shakspeare's insane root, 229

Heraldry ridiculed by Shakspeare, 476

Herb John, a proverbial expression relating to it, 481

Hermit of Prague, 66

Herne's oak, 51

Herod, account of his character in the old mysteries, 463

----, his character in the old mysteries illustrated, 85

Herodias, 236, 237

Higa, mistake concerning its etymology, 306

Hobby-horse, a character in the morris dance, 595

Holinshed, an error in his chronicle, 297

Hollyband, his real name Sainliens, 139

Horn, romance of King, 2

Horned head-dresses of the ladies, 125

Horse, the dancing, account of, 131

Horses, ancient names of, 291

Hugo de Sancto Victore, some tales and fables ascribed to him, 524

Hume, Mr., a singular remark by him, 323

Hundred merry tales, discussion relating to them, 102

Hyena, 189

I.

Idiots, begging of them, 148

Imagines Mortis, a series of prints supposed to have been known to
Shakspeare, 252

Infamis digitus, 302

Israel Von Mecheln, account of a curious print engraven by him
representing a morris dance, 585

Jachimo, remarks on this name, 375

Jack of the clock-house, 337

Janus, his double head difficult to explain, 154

Jesus, corruption of his name into Gis, 475

----, name of, inscribed on swords, 455

Jews, their usury, 155

Joculator, ancient meaning of this word, 502

Jourdain, Margery, some account of her, 316

Judas, an allusion to him,. 215

K.

Kaukie, a sort of fairies, 239

Killigrew, not a regular jester, 503

King Henry the Sixth, account of prayers composed by him, 337

---- ---- ---- ----, reasons why the whole of the plays on his reign
were not written by Shakspeare, 332

King Lear, an unpublished story of him and his daughters, 420

Kirke, Colonel, his conduct misrepresented by Mr. Hume, 95

Kirtle, some observations on it, 282, 294

Kissing, part of the ancient ceremony of betrothing, 248

Knight, remarks on this title, 378

Knights topers, ceremony of dubbing them, 293

L.

Labyrinthus, the author of this Latin comedy indebted to Shakspeare, 427

Lady of the May, 589

Lancaster, Duke of, an error relating to him corrected, 277

Lark, parallel passages relating to his singing extracted from old
poets, 375

Lavolta, an ancient dance described, 300

Law of the twelve tables, permitting a creditor to mangle the debtor's
body, 178

Lawyers compared to frogs by an old monkish writer, 528

Leland probably translated the Gesta Romanorum, 571, 573

Lenox, Mrs., the injustice of some of her criticisms on Shakspeare, 97,
110

Lion, generosity of this animal, 189

Liver, the seat of love, 38

Liveries of servants, 206

Lord of the May, 590

Love, blindness of, noticed by Chaucer, 138

Love's labour's lost, this play supposed to have been taken from a
French novel, 152

Lowth, Bishop, mistaken in his opinion concerning wastel bread, 444

Lucifer the morning star, Aurora's harbinger, 120

Lullaby songs, remarks on them, 383

---- ----, specimens of, 385

Lydgate, his poem against horned head-dresses, 125

Lydgate, monk of Bury, supposed to have been concerned in an English
translation of the Gesta Romanorum, 572

Lying at Ladies' feet, an ancient custom, 466

M.

Machiavellus, an unpublished Latin play, 163

Maiden, an instrument for beheading criminals, some account of it, 188

Maid Marian, her character in the morris dance described, 588

Maillard, Father, his sermons resemble those of the Methodists, 88

Majesty, when first used as a title by sovereigns, 319

Making the fig, explained, 302

Man, how expressed in the Chinese language, 415

Man in the moon, remarks on him, 9

Manuscript, account of a beautiful one, 471

Manus lasciva, 303

Maret, fool of Louis XIII., story of him, 505

Marian, derivation of this name, 588

Marie de France, a fable written by her, 525

Marigold, 219

Markham, Jervis, author of "a health to the gentlemanly profession of
serving men", 207

Marshall, John, some account of him, 551

Mary, when this name first used, 589

Masks, 28

Masques, representations of ancient, 425

Matachins, dance of, 578

May-dew on fairy rings, superstition relating to it, 112

May games, 581, 584

---- ---- censured by the Puritans, 595

May lady, 589

Measure for measure, remarks on the story of it, 94

---- ---- ----, a story resembling its plot, 484

Medlars, some remarks on them, 186

Merchant of Venice, remarks on the story of it, 167

Merchant, particular application of this word in the time of Shakspeare,
429

Mill-sixpences, 33

Milton imitates Shakspeare, 113, 117, 130

Minstrels, some remarks on them, 216

Misletoe, ancient prejudice against the berries of it, 386

Moidor, its etymology, 309

Monarch of the North, a Devil invoked by witches, 315

Monkies, the ancient manner of retaining them, 335

Montfaucon, a mistake by him pointed out, 455

Moon, eclipse of, ideas of various nations concerning it, 18

Moon, how represented by the Chinese, 10, 243

---- ---- ---- by the Egyptians, 243

----, its moisture, 116

----, use of it among witches, 16

Mooncalf, 9

Morality, singular incident in one, 515