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 — John Shaqi
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
See the Author’s _Introductory Dissertation_, p. x, to the Fac-simile
Reprint of Whitney’s _Emblems_.
Footnote 13:
See Plate I., containing De Hooghe’s engraving, reproduced on a
smaller scale.
Footnote 14:
“_Il portar queste imprese fu costume antico_. GIO. _Non è punto da
dubitare, che gli antichi vsassero di portar Cimieri & ornamenti ne
gli elmetti e ne gli scudi: perche si vede chiaramẽte in Vergil, quãdo
fa il Catalago delli genti, che vẽnero in fauore di Turno contra i
Troiani, nell’ ottauo dell’ Eneida; Anfiarao ancora (come dice
Pindaro) alla guerra di Thebe porto vn dragone nello scudo. Statio
scriue similmente di Capaneo & di Polinice; che quelli portò l’ Hidra,
e queste la Sfinge,_” &c.
Footnote 15:
See Gabriel Symeon’s _Devises ov Emblemes Heroiqves et Morales_, ed. à
Lyon, 1561, pp. 218, 219, 220.
Footnote 16:
See Paolo Giovio’s _Dialogo_, p. 10, and Symeon’s _Devises Heroiques_,
p. 220. Also _Le Imprese del. S. Gab. Symeoni_, ed. in Lyone 1574;
from which, p. 175, the above device is figured.
Footnote 17:
_i.e._, the space left between one of the sides of a bed and the wall.
Employed figuratively, this word relates to a custom which has passed
away, when people betook themselves to the alcove or sleeping room of
their friends to enjoy the pleasure of conversation.
Footnote 18:
Herodotus, in the _Melpomene_, bk. iv. c. 131.
Footnote 19:
So in the autumn and winter which preceded Napoleon’s return from
Elba, the question was often asked in France by his adherents,—“Do you
like the violet?” and if the answer was,—“The violet will return in
the spring,” the answer became a sure revelation of attachment to the
Emperor’s cause. For full information on _Flower signs_ see Casimir
Magnat’s _Traité du Langage symbolique, emblématique et religieux des
Fleurs_. 8vo: A. Touzet, Paris, 1855. In illustration take the lines
from Dr. Donne, at one time secretary to the lord keeper Egerton:—
“I had not taught thee then the alphabet
Of flowers, how they devisefully being set
And bound up, might with speechless secresy
Deliver errands mutely and mutually.”—_Elegy_ 7.
Footnote 20:
See also “REAL MUSEO BORBONICO,” _Napoli Dalla Stamperia Reale_, 1824.
Vol. i. tavola viii. e ix. Avventura e Imprese di Ercoli. Vol. ii.
tav. xxviii. Dedalo e Icaro. Vol. iii. tav. xlvi. Vaso Italo-Greco
depinto. Vol. v. tav. li. Vaso Italo-Greco,—a very fine example of
emblem ornaments in the literal sense.
Footnote 21:
“Εφορει δ’ αυτος περι τον τραχηλον εκ χρυσης ἁλυσεως ηρτημενον ζωδιον
των πολυτελων λιθων, ὁ προσηγορευον ΑΛΗΘΕΙΑΝ.”
Footnote 22:
_Iliad_, xviii. 478, “Ποίει δὲ πρώτιστα σάκος μέγα τε στιβαρόντε,—”
” ” _ 482, “Ποίει δαίδαλα πολλὰ ἰδυίῃσι πραπίδεσσιν.”
Footnote 23:
See Kenrick’s _Ancient Egypt under the Pharaohs_, vol. i. p. 291.
Footnote 24:
Public-domain text, read in full here on John Shaqi.
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