I cannot receive MR. CORNISH'S substitution (p. 312.) of "chommer" for _clamour_ in the _Winter's Tale_, Act IV. Sc. 3. In my opinion, _clamour_ is nearly or altogether the right word, but wrongly spelt. We have a verb _to clam_, which, as connected with _clammy_, we use for sticking with glutinous matter; but which originally must, like the kindred German _klemmen_, have signified _to press_, _to squeeze_; for the kind of wooden vice used by harness-makers is, at least in some places, called a _clams_. I therefore suppose the clown to have said _clam_, or perhaps _clammer_ (_i.e._ hold) _your tongues._ Highly plausible as is MR. C.'S other emendation in the same place of _2 Henry IV._, Act III. Sc. 1., I cannot receive it either. In Shakspeare the word _clown_ is almost always nearly equivalent to the Spanish _gracioso_, and denotes humour; and surely we cannot suppose it to be used of the ship-boy. Besides, a verb is wanted, as the causal particle _for_ is as usual to be understood before "Uneasy lies," &c. I see no objection whatever to the common reading, though _possibly_ the poet wrote: "Then, happy _boy_, lie down." There never, in my opinion, was a happier emendation than that of _guidon_ for _guard_; _On_, in _Henry V._, Act IV. Sc. 2.; and its being made by two persons independently, gives it--as MR. COLLIER justly observes of _palpable_ for _capable_ in _As You Like It_--additional weight. We are to recollect that a Frenchman is the speaker. I find _guidon_ used for banner in the following lines of Clément Marot (Elégie III.): "De Fermeté le grand _guidon_ suivrons," and-- "Cestuy _guidon_ et triomphante enseigne, Nous devons suyvre: Amour le nous enseigne." The change of _a sea of troubles_ to _assay of troubles_ in _Hamlet_ is very plausible, and ought perhaps to be received. So also is SIR F. MADDEN'S of _face_ for _case_ (which last is downright nonsense) in _Twelfth Night_, Act V. Sc. 1. But I would just hint that as all the rest of the Duke's speech is in rhyme, it is not impossible that the poet may have written-- "O thou dissembling cub! what wilt thou be When time hath sow'd a grizzle upon thee?" {45} Allow me now to put a question to the critics. In the two concluding lines of the _Merchant of Venice_ (the speaker, observe, is the jesting Gratiano): "Well, while I live, I'll fear no other thing So sore, as keeping safe Nerissa's ring." May there not be a covert allusion to the story first told by Poggio in his _Facetiæ_, then by Ariosto, then by Rabelais, then by La Fontaine, and, finally, by Prior, in his _Hans Carvel_? Rabelais was greatly read at the time. THOMAS KEIGHTLEY. * * * * * STATUES REPRESENTED ON COINS. (Vol. vi., p. 485.) Mr. Burgon (_Inquiry into the Motive of the Representations on Ancient Coins_, p. 19.) says: