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
“~Stam und Wapenbuch hochs und niders Standts~,”—_A stem and
armorial Bearings-book of high and of low Station_,—printed at
Frankfort-on-Mayne, 1579, presents above 270 woodcuts of the badges,
shields and helmets, with appropriate symbols and rhymes, belonging as
well to the humblest who can claim to be “vom gutem Geschlecht,” _of
good race_, as to the Electoral Princes and to the Cæsarean Majesty of
the Holy Roman Empire. Most of the figures are illustrated by Latin and
German verses, and again “picture and short posie” vindicate the
title,—book of Emblems.
And of the same character is a most artistic work by Theodore de Bry,
lately added to the treasure-house at Keir; it is also a _Stam und
Wapenbuch_, issued at Frankfort in 1593, with ninety-four plates all
within most beautiful and elaborate borders. Its Latin title, _Emblema
Nobilitate et Vulgo scitu digna, &c._, declares that these Emblems are
“worthy to be known both by nobles and commons.”
And so when an Emperor is married, or the funeral rites of a Sovereign
Prince celebrated, or a new saint canonized, or perchance some proud
cardinal or noble to be glorified, whatever Art can accomplish by symbol
and song is devoted to the emblem-book pageantry,—and the graving tool
and the printing press accomplish as enduring and wide-spread a
splendour as even Titian’s Triumphs of Faith and Fame.
Devotion that seeks wisdom from the skies, and Satire that laughs at
follies upon the earth, both have claimed and used emblems as the
exponents of their aims and purposes.
_Plate 2_
[Illustration: _Christ’s adoption of the Human Soul @span 2: Otho Vænius
1615@_]
With what surpassing beauty and nobleness both of expression and of
sentiment does Otho Vænius in his “AMORIS DIVINI EMBLEMATA,” Antwerp,
1615, represent to the mind as well as to the eye the blessed Saviour’s
adoption of a human soul, and the effulgence of love with which it is
filled! (See Plate II.) They are indeed divine Images portrayed for us,
and the great word is added from the beloved disciple,—“Behold, what
manner of love the Father hath bestowed upon us, that we should be
called the sons of God.” And the simple _Refrain_ follows,—
_“C’est par cet Amour que les hommes
Sont esleuez de ce bas lieu;
C’est par cet Amour que nous sommes
Enfans legitimes de Dieu:
Car l’Ame qui garde en la vie
De son Pere la volonté,
Doit au Pere ès cieux estre vnie
(Comme fille) en eternité.”_
Public-domain text, read in full here on John Shaqi.
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