Shakespeare and the Emblem Writers: an exposition of their similarities of throught and expression, preceded by a view of emblem-literature down to A.D. 1616Green, Henry
History
Shakespeare and the Emblem Writers: an exposition of their similarities of throught and expression, preceded by a view of emblem-literature down to A.D. 1616
Green, Henry
Emblem books, English -- History; Emblems -- England -- History; Emblems in literature; Shakespeare, William, 1564-1616 -- Sources
To gratify the curiosity which some may feel respecting this subject, I
add the whole of the original.
“_La plus grande recompense, ou plus grãd loyer que les antiques
Rommains estimassent faire aus Chefz d’armee, Empereurs, Capitaines, et
Cheualiers victorieux, c’estoit de les gratifier & honnorer (selon
toutefois leurs merites, estats, charges, & degrez) de certaines belles
Couronnes: qui generalemẽt (à cette cause) furent apellees Militaires.
Desquelles (pour auoir estées indice & enseignes de prouesse & vertu)
les figures des principales & plus nobles, sont ci tirees en deuises:
tant a la louange & memoire de l’antique noblesse, que pareillement à la
recreation, consolation, & esperance de la moderne, aspirãt & desirãt
aussi de paruenir aus gages & loyers apartenãs & dediez aus defenseurs
de la recommendable Republique. La premiere donques mise en reng,
representera la Trionfale: laquelle estant tissue du verd Laurier, auec
ses bacques, estoit donnée au Trionfateur, auquel par decret du Senat,
estoit licite de trionfer parmi la vile de Romme, sur chariot, comme
victorieus de ses ennemis. Desquels neantmoins lui conuenoit deuant la
pompe, faire aparoir de la deffaite, du nombre parfait de cinq mile, en
vne seule bataille. La susdite Couronne trionfale, apres long trait de
temps (declinant l’Empire) fut commẽcee à estre meslee, & variée de
Perles & pierrerie, & puis entierement changée de Laurier naturel en
Laurier buriné, & enleué, sus vn cercle d’or: comme se void par les
Medailles, de plusieurs monnoyes antiques._”[96]
Shakespeare does not add a single word of explanation, or of
amplification, which he might be expected to have done, had he used an
English translation; but simply, and without remark, he adopts the
emblem and its motto, as is natural to anyone who, though not unskilled
in the language by which they are expressed, is not perfectly at home in
it.
Of chivalry, however, he often speaks,—“of chivalrous design of knightly
trial.” To Bolingbroke and Mowbray wager of battle is appointed to
decide their differences _(Richard II._ act i. sc. 1, l. 202, vol. iv.
p. 116), and the king says,—
“Since we can not atone you, we shall see
Justice design the victor’s chivalry.”
And (vol. iv. p. 137) John of Gaunt declares of England’s kings; they
were,—
“Renowned for their deeds as far from home,
In Christian service and true chivalry,
As is the sepulchre in stubborn Jewry
Of the world’s ransom, blessed Mary’s Son.”
But in the case of the fourth and fifth knights, it is not the simple
adoption of a device which we have to consider; the very ideas, almost
the very phrases in which those ideas were clothed, have also been
given, pointing out that the Dramatist had before him something more
than explanations in an unfamiliar tongue.
The device of the fourth knight is both described and interpreted,—
Public-domain text, read in full here on John Shaqi.
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