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
“By shininge lighte, of wannishe CYNTHIAS raies,
The dogge behouldes his shaddowe to appeare:
Wherefore, in vaine aloude he barkes, and baies,
And alwaies thoughte, an other dogge was there:
But yet the Moone, who did not heare his queste,
Hir woonted course, did keep vnto the weste.
This reprehendes, those fooles which baule, and barke,
At learned men, that shine aboue the reste:
With due regarde, that they their deedes should marke,
And reuerence them, that are with wisedome bleste:
But if they striue, in vaine their winde they spende,
For woorthie men, the Lorde doth still defende.”
[Illustration: _Beza, ed. 1580._]
The same device to a different motto, “DESPICIT ALTA CANIS,”—_The dog
despises high things_,—is adopted by Camerarius, _Ex Anim. quadrup._, p.
63, edition 1595,—
“Why carest thou for the angry thorns of a vain speaking tongue?
Diana on high cares not for the loud-barking dog.”[133]
We will conclude our “baying” with Beza’s 22nd Emblem. The Latin stanza
is sufficiently severe,—
“_Luna velut toto collustrans lumine terras,
Frustra allatrantes despicit alta canes:
Sic quisquis Christum allatrat Christíve ministros,
Index stultitiæ? spernitor vsque suæ._”
[Sidenote: _i.e._]
“As the moon with full light shining over the lands,
From on high doth despise dogs barking in vain:
So whoso is barking at Christ or Christ’s ministers,
The scorner is the pointer out even of his own folly.”
In connection with the power of music Orpheus is named by many writers
of the sixteenth century; and among the Emblematists the lead may be
assigned to Pierre Coustau in “LE PEGME” (Lyons, 1560, p. 389),—
_Sur la harpe d’Orpheus._
La force d’Eloquence.
[Illustration: _Coustau, 1560._]
_De ſon gentil & fort melodieux
D'vn inſtrument, Orpheus feit mouuoir
Rocs & patitz de leur places & lieux.
C’eſt eloquence ayant force & pouuoir
D’ẽbler les cueurs de tous part son ſçavoir;
C’eſt l’orateur qui au fort d’eloquence,
Premierement ſouz méme demourance
Gens beſtiaulx, & par ferocité, &c._
“_On the Harp of Orpheus._
The Power of Eloquence.
“With sound gentle and very melodious
Of an instrument Orpheus caused to move
Rocks and pastures from their place and home.
It is eloquence having force and power
To steal the hearts of all his learning shows,
It is the orator who by strength of eloquence
First brings even under influence
Brutal people, and from fierceness
Gathers them; and who to benevolence
From fierceness then reclaims.
Public-domain text, read in full here on John Shaqi.
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