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
The _Dialogues of Creatures moralised_ preceded, however, the _Fables_
of Faerni by above eighty years. “In the Latin and Dutch only there were
not less than fifteen known editions before 1511.”[142] An edition in
Dutch is named as early as 1480, and one in French in 1482; and the
English version appeared, it is likely, at nearly as early a date. These
and other books of fables, though by a contested claim, are often
regarded as books of Emblems. The best Emblem writers, even the purest,
introduce fables and little tales of various kinds; as _Alciat_, Emb. 7,
The Image of Isis, the Ass and the Driver; Emb. 15, The Cock, the Lion,
and the Church; Emb. 59, The Blackamoor washed White, &c.: _Hadrian
Junius_, Emb. 4, The caged Cat and the Rats; Emb. 19, The Crocodile and
her Eggs: _Perriere_, Emb. 101, Diligence, Idleness, and the Ants. They
all, in fact, adopted without scruple the illustrations which suited
their particular purpose; and Whitney, in one part of his _Emblemes_,
uses twelve of Faerni’s fables in succession.
Of the fables to which Shakespeare alludes some have been quoted in the
former part of this work;—as The Fly and the Candle; The Sun, the Wind,
and the Traveller; The Elephant and the undermined Tree; The Countryman
and the Serpent. Of others we now proceed to give examples.
The Hares biting the dead Lion had, perhaps, one of its earliest
applications, if not its origin, in the conduct of Achilles and his
coward Greeks to the dead body of Hector, which Homer thus records
(_Iliad_, xxii. 37),—
“The other sons of the Greeks crowded around;
And admired Hector’s stature and splendid form;
Nor was there one standing by who did not inflict a wound.”
Claude Mignault, in his notes to Alciatus (Emb. 153), quotes an epigram,
from an unknown Greek author, which Hector is supposed to have uttered
as he was dragged by the Grecian chariot,—
“Now after my death ye pierce my body;
The very hares are bold to insult a dead lion.”
The _Troilus and Cressida_ (act v. sc. 8, l. 21, vol. vi. p. 259)
exhibits the big, brutal Achilles exulting over his slain enemy, and
giving the infamous order,—
“Come, tie his body to my horse’s tail;
Along the field I will the Trojan trail.”
And afterwards (act v. sc. 10, l. 4, vol. vi. p. 260) the atrocities are
recounted to which Hector’s body was exposed,—
“He’s dead, and at the murderer’s horse’s tail
In beastly sort dragg’d through the shameful field.”
The description thus given accords with that of Alciatus, Reusner, and
Whitney, in reference to the saying, “We must not struggle with
phantoms.” Alciat’s stanzas (Emb. 153) are,—
Cum laruis non luctandum.
Public-domain text, read in full here on John Shaqi.
Reviews
Reviews
No reviews yet
Be the first to share your thoughts on this work.
Elsewhere in the archive
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account