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A public domain book is one that was never subject to copyright or whose legal copyright term has expired. I sir, Widdowes at fifteene, and Maides at twentie fiue; but I keepe them company, for no other thing, then to conuert them, some of them could eu'n eate me, but for feare of spoiling their teeth. Indeed one of your sweet hearts complained t'other day you made her teeth rotten. Alas sir, twas none of my fault, she bit me first, and I could doe no lesse, then punish her sweet tooth. The six folio plays which show no attempt to mark the acts and scenes deserve brief discussion to show that they are valueless la determining whether Shakspere ignored the five-act form. They probably realized that Shakspere had little to do with the Henry VI plays. We hear pro- tests ag^nst other "romantic" features. Doan de liaieiice, in La Ancietu Fo Ha de la Frartce, publifa sons la diiectkn de F. (Godefroy) Furckarpr, to load oon^^telyi La gent des Cine Ports et de Bayonne et autres de la marine d'Ene Jeterre et dlilande, alierent a Buidmux a vendues, pvrchargir marchandement, si comeila .y Google Wiiliam Morton Dey 167 aokoent fure, les maie Ues de la navie d'Eogleteire, de Bayoiuie, diriande ne se voloicnt mie purckarpr, msis pul Ur- in Old French was its intensive one, assumed through its confusion with the prefix pw-. Whether a book is in the public domain may vary country to country. All of these dramas, as Pollard has shown,*" were undivided for the dmple reason that the editors, who did not consider them worth so much editorial attention as other plays, were pressed for time when these particular productions were going through the press. Antony and Cleopatra, says Pollard," "is so clearly out of place between Olhello and Cymbdine that we must imagin,e it to have been overlooked and inserted in the only position available at the eleventh hour." The various irregularities of Timon oj Athens, ss^. Adams, Jr., has shown,® are all easily eitplained by the circumstance that it was hastily thrust into the space originally left for Trailus and Cressida. Let us examine one or two of these protests from the pcnnt of view of the five-act form. 303; Witber't tetl Ddnctio D to Aima Strift and WUf, taxad pt. Of the seventy- three verbs which have been clasafied, I have registered twenty-two in which it means fotik, out, before, and fifty-one in which it has the intensive force of par-. Bamabe Riche, in his Sonesiie of tkis Age, notes that drinking and smoking almost invariably go together, "for it is a commodity that is now as vendible in every taveme, inne and ale-house, as eyther wine, ale, or beare. He tells at let^th the story which makes Simonides the inventor of a sysem of technical memory — a system so precious to the rhetorician, for memory was one of the five points of the rhetorician's art. If Cicero seems juiceless at times, it is his own fault. The present indicative may be used of any extent of time, past or future, or both, provided the time of the speaker be included. " It is natural eno\^h, then, that tobacco, the "dry drink," should iqpear in literature as a rival of the standard beverages. eech, stirs up a dissen^n among the five senses, by means of which she may prosecute her own claim to be enrolled among their number. His example is a tes- timony against all purely vocational training, and yet rhetoric in the antique sense was the least narrow of the disciplines, though often one of the shallowest. Whether a book is still in copyright varies from country to country, and we can't offer guidance on whether any specific use of any specific book is allowed. Tbe sitiy nuy record the Cruifet ol pabbben' licbli ia the fint ei Utlo B ar, what k mm likdy, the publication or tiuelei ol a ballad ni Df tbe •ama lu Krial. Date and Authosshif The ascription of Wine, Beere, and Ale, oa the title page of the first edition, to Gallobelgicus and Mercnrius Brittanicus conveys no trustworthy information regarding either its authorship or its source. There are dear allusions to the statute against drunkenness, first passed in 1603. .y Google Ale, and Tobacco 11 show a tendency to personify the rival liquors. (Karls Heise, 569-70.) Et de sarda contieval n vit le ioask mout parfont et mout roide s'ot mout Rnut (Aucasain et Nicolette, p. 9-U.) Dea pastoriax ae part tost d entia el parfot U bos. 27, 523, IL 4-5.) Halt sunt li pui e tenebrus e grant, Ij val parfunt c les ewes curane. Pmtr Umr (fiorbmer), drcumference, circular gallery. In the case of some of these words, we cannot be sure that we have not the derivative of a lost verb; the sense is our only indication, and that is by no means final. Pot quei, fonrquoi, conjunc., for which, for which reason. d«s clioses It Tcstorei (Godefroy) Pourmticmait, giuiding, crushing: Tout poui le bl£ du pain que pour le poumalemait du nv^- (Gwlefroy) WORDS WTTH BOTH PRO- AND POR- IN OLD FRENCH Id Old French there were certain words which had both pro- and por-: some, on the one hand, whose usual prefix was por-, and a few, on the other hand, which usually had pro-. Please do not assume that a book's appearance in Google Book Search means it can be used in any manner anywhere in the world. The names are obviously mere humorous adaptations of the pseu- donyms used by the publishers of two contemporary news books; Mercnrius Brittanicus being the first English newspaper, started by Thomas Archer in 1625, and Mercurius Gallobelgicus, a Latin review of continental affairs, which had been issued at half yearly intervals from Cologne since 1594 and which circulated widely in England as well as abroad. Wmiuia, A Bi Marj */ Bm^i A Jturmliim It On Ftuudint nfl Mt Gttmi. This act was made perpetual in 1623-4 and enlarged shortly after the accession of Charles in 1625.' The allusions may well have been prompted by one or the other of these confirmations of the law. It is not suipriung, therefore, that the question of the rdative merits of the beverages should, under the influence of other debates, have flowered into a dramatized dispute.** The tobacco episode, added in the second edition, has behind it a fiercer and more novd controversy. Sirra, tis well known you come from Barbary your self e, and because of some few Pounds in a Chest, you thinke to domineere ouer Tost: y'are a little handsome, I confesse, & Wenches licke their lips after you; but for all that, would I might sinke to the bottome, if I doe not — : I will giue Sugar but one box. (La Chanaon de Roland, 1830-31.) Passent cez puis et cez loches plus haltea, Cez par/ma vals, cez destreiz anguisablea. Neither, for that matter, are we sure that some of the verbs already treated are not, themselves, forma- tions on the preposition in composition with a substantive. Pvrotc, adv., therefore, on account of that, in exchange for that. It is used also as a substantive and as an inteirogative adverh. The preposition par in composition with adjectives. With the revival of learning in the 16th Century, the scholarly classes were frequently moved to choose the form with pro- of words which had both pro- and por-. A ballad in Wit's Rtcrea Hon (1640), entitled "The Tryumph of Tobacco over Sack * "A Dinlafnu bctweea Chnt nad Duby Ale; A Poon aiiiaida«l in an tcddmul axmrv/lai fail BLi Lu two gatticama" wu prinlsd (a £, Richanhiin in IG91, See Uuvhut. To this end she allows them to find a robe and crown inscribed like Paris's apple of discord — " to the most worthy.
Public domain books belong to the public and we are merely their custodians. In its somewhat different arrangement and title, I hope it soay still be acceptable to that divi- sioa of the Harvard Faculty to which it was first submitted. Ford, who was ever ready with suggestion and encouragement; and especially to Professor C. Grandgrait, whose constant aid, counsel, and inspiration were indispensable. .y Google BIBLIOGRAPHY A Nea Latin Dktiot Mty: Andrews's Freuiid revised by Lewis snd Short. French inherits from Latin profond, 'deep,' and fond, 'bottom.' It seemed necessary to the speakers to establish relations between the two words, and the apparent one was that the fond of profond meant the adjective sense most analogous to 'bottom' — ^which was 'deep,' thus creating a syn- onym of the Latin compound profundus. Public domain books are our gateways to the past, representing a wealth of history, culture and knowledge that's often difficult to discover. But your diseases need none: for infiamations, which are dangerous to others, makes you more acceptable, nor doe you blush to haue it reported sir, how often you haue beene burnt. So sir, now you put me in minde on't, I heare say you runne a wenching, and keepe womens company too much. Alas w, like will to like, Sugar being of his owne nature sweete, has reason to make much of women, which are the sweetest creatures. As is generally recognized, Troilus and Cressida was secured at the last minute and thrust hastily into the folio; thus not allowing the editors sufficient time to divide it into acts and scenes.*' As early as 1679 Dryden recognized that the play had been hastily and carelessly printed: "Sliake^eare (as I hinted), in the apprenticeship of his writing modelled it into that pky, which is now called by the name of Troiius and Crasida, but so Umely b it left to us, that it is not divided into acts: whidi fault 1 ascribe to the actors who printed it after Shakemare's death; and that too so carelesdy, that a more uncorrtct copy I never saw. When we take all these facts into consideration, there is no doubt that haste and carelessness, not respect on the editors' part for Shakspere's refusal to adhere to the regulation five-act form, explain the few plays in the folio that are not divided into acts. Gayton, writing contemptuously of the Bankside audiences, affirms that such ''Par ■ few of th« moie intentmc •moog tl» boot ol EUabethu nternicii to tbe "pliy of IKe," etc, whicli ban doc been dtid ibovs, kc: Jomoa't Timbtr; Hcnfck'i Plaitiili; Owen'* epl- Cam ifm a Slat'-^loy; Fc Uthun'ii JCdehu, No. ol Sitan/nnm Pmaaia, U, 1; Flitcbo'i Puff U Irimd, I, 37; Sliia, canlo I; At Mytmh U. - and P(f- in Old French 170 Tie Fate of the Foregoing Words 172 Words with Prth in Old French. Therefore, comparing por- with its Latin ancestor pro-, it is evi- dent (1) that the former lost, to a considerable extent, the charac- teristic signification of forth, out, before, of the latter; and (2) that the ronfusion with the prefix par- was so considerable as to extend its influence to more than two-thirds of the verbal compounds with por-, thereby making the intensive force of por- its most usual one. Marks, notations and other maiginalia present in the original volume will appear in this file - a reminder of this book's long journey from the publisher to a library and finally to you. " It is interesting to see what this great classicist thought of Shaks- pere's conceiving his dramas in the five-act form. There are other reasons for believing that Shakspere, like his contemporaries, conscientiously split his dramas up into the conven- tional five acts. WUliam Archer* protests sanely and justly against the misapprehension of those who refuse to have Shaks- pere "think in acts" and who argue that he "conceived his plays as continuous series of events, without any pause or intermission in their flow." He argues that the act-division was intentionally employed "to give to the action of his pl^ys a rhythm which ought not, in representation, to be obscured or falsified." "So far," he says again, "was Shakspere from ignoring the act-division that it is a question whether his art did not sometimes suffer from the supposed necessity of letting a fourth act intervene between the culmination in the third act and the catastrophe in the fifth." "Fid Wd, pp. l U, 3, 11; Damm wf Pi Mat (ISTl); Epbaph on Bnibige; Haib'a Daik'i Smmmtiu; teat ii or dgbl can in Sbakspe R; Ima p RHmd bf Old;r) Mid to be br Sbatap RCUHl Joli Kio; Ford'i B™t Unif Kilty tf Nahk Can K—) .y Google '■•-c CONTENTS PAGE Bibliography 138 Introduction 141 Por- in Composition with Verbs 142 1. 173 Words with Pro- which Have Come over into Modem French 178 New Wtffds with Pro- in Modem French 180 Index. It is interesting to note that, of the only seven Old French verbs which came into Modem French with the prefix por-, one retains the idea of forth: portraire, "repr&enter"; and six retain the intensive force: pourchasser, "poursuivre avec ardeur," pourfendre, "fendre comp Ktement," pourparler (a substantive in Modem French), "con- f&ence en vue de se mettre d'accord," pourpenser, "m^diter longue- ment," poursuivre, "suivre de prfes pour atteindre quelqu'un ou pour obtenir quelque chose," and pourvoir, " aviser aux mesures nicessaires, mettre en possession de ce qui est n^cessaire." SPECIAL AND MISCELLANEOUS CASES 1. As the Cambridge session had been suspended since November owing to the plague, the play, if acted at the University, must have been written at least as early as 1629, the year in which Wine, Beere, and Ale was published in its earlier form. Come, feare not, He part you, but hee's druoke, ready to fall; irtience comes he dropping in now? Wh Oe there is no conclusive evidence to show that Wim, Beere, and Ale was written for perionnance at Cambridge University, such a supposition is, in view of what has already been said regarding its relation to dialogues known to have been of Cambridge origin, very probable.
Google This is a digital copy of a book that was preserved for generations on library shelves before it was carefully scanned by Google as part of a project to make the world's books discoverable online. Kay sir, if I may credit my owne experience they are the best friends I haue, for I am alwaies in their mouthes. Only six plays, then, indicate in any way that Shakspere's manuscripts might not have marked off the acts. Of the renuuning folio plays that are undivided (2 and 3 pints of ffenry VI, Timon, Antony and Cleopatra) it should be noted that not a single one remained in the repertory of the Globe Company" as late as 1623; hence it is reasooable to suppose that prompt copies were not at hand to facilitate the division into acts. Mendado in Lingua (V, i) surely has the public stage in mind when he says: "My Lady Lingua is just like one of these lean-witted comedians who, disturbing all to the fifth act, bring down some Mercury or Jupiter in an engine to make all friends." Nassurat in Suckling's Goblins (V, 5) speaks of "as strange a turn as if 'twere the fifth act in a play," Ki Uigrew in The Parson's Wed- ding (V, 3) probably had the pubhc st^e in mind when he wrote: "Why, just now you spit out one jest stolen from a poor play, that has but two more in five acts." Lovelace in his On Sanazar's Being Honored says: "Once a five-knotted whip there was, the stage." The following is quoted primarily because of its close smilarity to the poems by Raleigh and Quarlea already dted:*' "Man's life's a tragedy; hia mother's womb, From which he enters, is the tiring room; This spacious earth the theatre; and the stage That country which he lives in; paaaions, rage. Such refer- ences, like those to five acts, are not worth much, to be sure, but they at least imply that, if Elizabethans commonly compiled series of unbroken events and called them dramas, these productions did not make much impression upon the phraseology of a large number of representative men of the period. Du Cange: Clossariv.m mtdiae el infimat Latin Uatis. It is interesting to compare the form of this word in the other Romance Languages: Italian bos profumart, while Spanish shows perfumar.