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
“O thou sweet king-killer, and dear divorce
’Twixt natural son and sire! thou bright defiler
Of Hymen’s purest bed! thou valiant Mars!
Thou ever young, fresh, loved, and delicate wooer,
Whose blush doth thaw the consecrated snow
That lies on Dian’s lap! thou visible god,
That solder’st close impossibilities,
And makest them kiss! that speak’st with every tongue,
To every purpose! O thou touch of hearts!
Think, thy slave man rebels; and by thy virtue
Set them into confounding odds, that beasts
May have the world in empire!”
The Emblem which Shakespeare attributes to the fifth knight is fully
described by Whitney (p. 139), with the same device and the same motto,
_Sic spectanda fides_,[104]—
“THE touche doth trye, the fine, and purest goulde:
And not the sound, or els the goodly showe.
So, if mennes wayes, and vertues, wee behoulde,
The worthy men, wee by their workes, shall knowe.
But gallant lookes, and outward showes beguile,
And ofte are clokes to cogitacions vile.”
If, in the use of this device, and in their observations upon it,
Paradin, either in the original or in the English version, and Whitney
be compared with the lines on the subject in _Pericles_, it will be seen
“that Shakespeare did not derive his fifth knight’s device either from
the French emblem or from its English translator, but from the English
Whitney which had been lately published. Indeed, if _Pericles_ were
written, as Knight conjectures, in Shakespeare’s early manhood, previous
to the year 1591, it could not be the English translation of Paradin
which furnished him with the three mottoes and devices of the Triumph
Scene.”
To the motto, “AMOR CERTVS IN RE INCERTA CERNITVR,”—_Certain love is
seen in an uncertain matter_,—Otho Vænius, in his _Amorum Emblemata_,
4to, Antwerp, 1608, represents two Cupids at work, one trying gold in
the furnace, the other on the touchstone. His stanzas, published with an
English translation, as if intended for circulation in England, may, as
we have conjectured, have been seen by Shakespeare before 1609, when the
_Pericles_ was revived. They are to the above motto,—
“_Nummi vt adulterium exploras priùs indice, quam sit
Illo opus: haud aliter ritè probandus Amor.
Scilicet vt fuluium spectatur in ignibus aurum:
Tempore sic duro est inspicienda fides._”
“_Loues triall._
As gold is by the fyre, and by the fournace tryde,
And thereby rightly known if it be bad or good,
Hard fortune and distresse do make it vnderstood,
Where true loue doth remayn, and fayned loue resyde.”
“Come l’oro nel foco.
Public-domain text, read in full here on John Shaqi.
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