The Atlantic Monthly, Volume 03, No. 16, February, 1859

 
  "Thou, for whom Jove would swear
  Juno but an Ethiop were,"
 

rather than accept Pope's suggestion of "ev'n Jove," or the far better "great Jove" of Mr. Collier's Corrected Folio,—affirming that "the quantity and accent proper to 'thou' make any addition to the line superfluous." We should like to hear Mr. White read the verse as he prints it. The result would be something of this kind:—

Thou-ou for whom Jove would swear,—

which would be like the 'bow-wow-wow before the Lord' of the old country-choirs. To our ear it is quite out of the question; and, moreover, we affirm that in dissyllabic (which we, for want of a better name, call iambic and trochaic) measures the omission of a half-foot is an impossibility, and all the more so when, as in this case, the preceding syllable is strongly accented. Even had the poem been meant for singing, which it was not, for Dumain reads it, the quantity would be false, though the ear might more easily excuse it. Such an omission would be not only possible, but sometimes very effective, in trisyllabic measures,—as, for instance, in anapests like these,—

 
  "'Tis the middle of night by the castle clock,
  And the owls have awakened the crowing cock,"—
 

where iambs or spondees may take the place of the first or second foot with no shock to the ear, though the change of rhythm be sensible enough,—as

 
  'Tis th[)e] d[=e][=e]p midnight by the castle clock,
  And [)o]wls have awakened the crowing cock.
 

We quite agree with Mr. White and Mr. Knight in their hearty dislike of the Steevens-system of versification, but we think that Coleridge (who, although the best English metrist since Milton, often thought lazily and talked loosely) has misled both of them in what he has said about the pauses and retardations of verse. In that noblest of our verses, the unrhymed iambic pentameter, two short or lightly-accented syllables may often gracefully and effectively take the place of a long or heavily-accented one; but great metrists contrive their pauses by the artistic choice and position of their syllables, and not by leaving them out. Metre is the solvent in which alone thought and emotion can perfectly coalesce,—the thought confining the emotion within decorous limitations of law, the emotion beguiling the thought into somewhat of its own fluent grace and rebellious animation. That is ill metre which does not read itself in the mouth of a man thoroughly penetrated with the meaning of what he reads; and only a man as thoroughly possessed of the meaning of what he writes can produce any metre that is not sing-song. Not that we would have Shakspeare's metre tinkered where it seems defective, but that we would not have palpable gaps defended as intentional by the utterly unsatisfactory assumption of pauses and retardations. Mr. White has in many cases wisely and properly made halting verses perfect in their limbs by easy transpositions, and we think he is perfectly right in refusing to interpolate a syllable, but wrong in assuming that we have Shakspeare's metre where we have no metre at all. We are not speaking of seeming irregularities, of lines broken up by rapid dialogue or cut short by the gulp of voiceless passion, nor do we forget that Shakspeare wrote for the tongue and not the eye, but we do not believe he ever left an unmusical period. Especially is this true of passages where the lyrical sentiment predominates, and we beg Mr. White to reconsider whether we owe the reading

"All overcanopied with luscious woodbine" (instead of lush)

to the printers of the Folio or to Shakspeare. Even if we accept Steevens's "whereon" instead of "where" in the first verse of this exquisite piece of melody, and read (as Mr. White does not)

"I know a bank whereon the wild thyme grows,"

it leaves the peculiar lilt of the metre unchanged. The varied accentuation of the verses is striking; and would any one convince himself of the variety of which this measure is capable, let him try to read this passage, and the speech of Prospero, beginning "Ye elves of hills," to the same tune. In the verses,

 
  "And ye that on the sands with printless foot
  Do chase the ebbing Neptune, | and do fly him
  When he comes back,"
 

observe how the pauses are contrived to echo the sense and give the effect of flux and reflux. Versification was understood in that day as never since, and no treatise on English verse so good, in all respects, as that of Campion (1602) has ever been written. Coleridge learned from him how to write his "Catullian hendeca-syllables," and did not better his instruction.²⁹

In "Measure for Measure," (Act i. Sc. 1,) in this passage,—

"what's open made To justice, that justice seizes: what knows the law That thieves do pass on thieves?"

does Mr. White believe the "that" and "what" are Shakspeare's? Does he consider

"To justice, that justice seizes: what knows the law"

an alexandrine,—and an alexandrine worthy of a student and admirer of Spenser? Should we read it thus, we should dread Martial's sarcasm of, Sed male cum recitas. We believe that Shakspeare wrote

 
    "What's open made
  To Justice, Justice seizes; knows the Law
  That thieve do pass on thieves?"
 

We have pointed out a passage or two where we think Mr. White follows the Folio text too literally. Two instances we have noted where he has altered, as we think, for the worse. The first is (Tempest, Act iii. Sc. 3) where Mr. White reads,

 
  "You are three men of sin whom Destiny
  (That hath to instrument this lower world
  And what is in't) the never-surfeited sea
  Hath caused to belch you up,—and on this island
  Where man doth not inhabit; you 'mongst men
  Being most unfit to live. I have made you mad."
 

The Folio reads, "Hath caused to belch up you"; and Mr. White says in his note, "The tautological repetition of the pronoun was a habit, almost a custom, with the Elizabethan dramatists." This may be true, (though we think the assertion rash,) but certainly never as in this case. We think the Folio right, except in its punctuation. The repetition of the "you" is emphatic, not tautological, and is demanded by the whole meaning of the passage. Ariel is taunting the persons she addresses, with the intention of angering them; and the "you" is repeated, because those highly respectable men cannot at first bring their minds to believe that such unsavory epithets are addressed to them. We should punctuate thus, following the order of the words in the Folio,—

 
  "Hath caused to belch up,—you! and on this island,
  Where man doth not inhabit;—you 'mongst men
  Being most unfit to live. I have made you mad."
 

In the "Comedy of Errors," (Act ii. Sc. 2,) Adriana, suspecting her husband of unfaithfulness, says to him,—

 
  "For, if we two be one, and thou play false,
  I do digest the poison of thy flesh,
  Being strumpeted by thy contagion.
  Keep, then, fair league and truce with thy
       true bed;
  I live distained, thou undishonored."
 

Such is the reading of the Folio. Mr. White reads,

"I live distained, thou one dishonored."

But we cannot help thinking that the true reading should be,

"I live distained, though undishonored,"

which is a less forced construction, and coincides with the rest of the passage,—"I am contaminate through thee, though in myself immaculate."

In "As You Like it," (Act ii. Sc. 3,) Mr. White (with the Folio and some recent editors) calls the Duke's wrestler, "the bonny priser of the Duke." The common reading is "bony," which seems to us better, though we believe brawny to be the word intended. We likewise question Mr. White's explanation of the word priser, which, he says, "is prize-fighter, one who wins prizes." One who "fights for prizes" would have been better; but we suspect that the word is more nearly akin with the French prise (in the sense of venir aux prises) than with prix. We should prefer also "Aristotle's ethicks" (Taming of the Shrew, Act i. Sc. 1) to the ordinary "Aristotle's checks," which is retained by Mr. White. In "Much Ado about Nothing," (Act ii. Sc. 1,) we have no doubt that Mr. Collier's corrector is right in reading "sink apace," though Mr. White states authoritatively that Shakspeare would not have so written. It is only fair to Mr. White, however, to say that he is generally open-minded toward readings suggested by others, and that he accepts nearly all those of Mr. Collier's Corrected Folio on which honest lovers of Shakspeare would be likely to agree. In comparing his notes with the text, our eye was caught by a verse in which there seems so manifest a corruption that we shall venture to throw down the discord-apple of a conjectural emendation. In the "Merchant of Venice," (Act iii. Sc. 2,) where Bassanio is making his choice among the caskets, after a long speech about "outward shows" and "ornament," he is made to say that ornament is,

 
"in a word, The seeming truth which cunning
times put on To entrap the wisest."
 

We find it hard to believe that times is the right word here, and strongly suspect that it has stolen the place of tires. The whole previous tenor of the speech, and especially of the images immediately preceding that in question, appears to demand such a word.

We have said, that we considered the style and matter of Mr. White's notes excellent. Indeed, to the purely illustrative notes we should hardly make an exception. There are two or three which we think in questionable taste, and one where the temptation to say a sharp thing has led the editor to vulgarize the admirable Benedick, and to misinterpret the text in a way so unusual for him that it is worth a comment. When Benedick's friends are discussing the symptoms which show him to be in love, Claudio asks,

"When was he wont to wash his face?"

Mr. White annotates thus:—

"That the benign effect of the tender passion upon Benedick in this regard should be so particularly noticed, requires, perhaps, the remark, that in Shakspeare's time our race had not abandoned itself to that reckless use of water, whether for ablution or potation, which has more recently become one of its characteristic traits."

Now, if there could be any doubt that "wash" means cosmetic here, the next speech of Don Pedro ("Yea, or to paint himself?") would remove it. The gentlemen of all periods in history have been so near at least to godliness as is implied in cleanliness. The very first direction in the old German poem of "Tisch-zucht" is to wash before coming to table; and in "Parzival," Gurnamanz specially inculcates on his catechumen the social duty of always thoroughly cleansing himself on laying aside his armor. Such instances could be multiplied without end.

In annotating Shakspeare, it would, perhaps, be asking too much of an editor to give credit to its first finder for every scrap of illustration. The immense mass of notes already existing may, perhaps, be fairly looked upon as a kind of dictionary, open to every one, and the use of which implies no indebtedness. Mr. White, in general, indicates the source whence he has drawn, though we have sometimes found him negligent in this respect. He says, in the Advertisement prefixed to his second volume, "that in every case, where no such credit is given for a restoration, a conjecture, or a quotation, the editor is responsible for it; and as he is disinclined to the giving of much prominence to claims of this sort, he has, in those cases, merely remarked, that 'hitherto' the text has stood thus or so." We have not been at the trouble of verifying every one of Mr. White's "hithertos," but we did so in two plays, and found in "Midsummer Night's Dream" four, and in "Much Ado" two cases, where the reading claimed as a restoration occurred also in Mr. Knight's excellent edition of 1842. These oversights do not affect the correctness of Mr. White's text, but they diminish our confidence in the accuracy of the collation to which he lays claim.

The chief objection which we have to make against Mr. White's text is, that he has perversely allowed it to continue disfigured by vulgarisms of grammar and spelling. For example, he gives us misconster, and says, "This is not a mis-spelling or loose spelling of 'misconstrue,' but the old form of the word." Mr. Dyce insisted on the same cacographical nicety in his "Remarks" on the editions of Mr. Collier and Mr. Knight, but abandons it in his own with the artless admission that misconstrue also occurs in the Folio. In one of the Camden Society's publications is a letter from Friar John Hylsey to Thomas Cromwell, in which we find "As God is my jugge";³⁰ but we do not believe that jug was an old form of judge, though a philological convict might fancy that the former word was a derivative of the latter. Had the phrase occurred in Shakspeare, we should have had somebody defending it as tenderly poetical. We cannot but think it a sacrifice in Mr. White that he has given up the whatsomeres of the Folio. He does retain puisny as the old form, but why not spell it puisné and so indicate its meaning? Mr. White informs us that "the grammatical form in use in Shakspeare's day" was to have the verb govern a nominative case! Accordingly, he perpetuates the following oversight of the poet or blunder of the printer:—

 
            "What he is, indeed,
  More suits you to conceive, than I to speak of."
 

Again, he says that who, as an objective case, "is in accordance with the grammatical usage of Shakspeare's day," (Vol. II. p. 86,) and that, "considering the unsettled state of minor grammatical relations in Shakspeare's time," it is possible that he wrote whom as a nominative (Vol. V. p. 393). But the most extraordinary instance is where he makes a nominative plural agree with a verb in the second person singular, (Vol. III. p. 121,) and justifies it by saying that "such disagreements … are not uncommon in Shakspeare's writings, and those of his contemporaries." The passage reads as follows in Mr. White's edition:—

 
            "A breath thou art,
  Servile to all the skiey influences
  That dost this habitation where thou keep'st
  Hourly afflict."
 

Hanmer (mistaking the meaning) read do. Porson objected, on the ground that it was thou and not influences which governed dost. Porson was certainly right, and we wonder how any one could ever have understood the passage in any other way. The mediaevals had as much trouble in reconciling free-will with judicial astrology as we with the divine foreknowledge. A passage in Dante, it appears to us, throws light on the meaning of the Duke's speech:—

 
  "Lo cielo i vostri movimenti inizia;
  Non dico tutti; ma posto ch' io 'l dica
  Lume v' è dato a bene ed a malizia,
  E libero voler che, se fatica
  Nelle prime battaglie col ciel dura,
  Poi vince tutto se ben si notrica."
 

Purg., Cant. xvi.

Cielo is here used for the influence of the stars, as is clear from a parallel passage in the "Convito." Accordingly, "Though servile to all the skyey influences, it is thou, breath as thou art, that dost hourly afflict thy body with the results of sin." But even if this be not the meaning, is Mr. White correct in saying that influence had no plural at that time?³¹ Had he forgotten "the sweet influences of Pleiades"? The word occurs in this form not only in our version of the Bible, but in that of Cranmer, and in the "Breeches" Bible. So in Chapman's "Byron's Conspiracy," (Ed. 1608, B. 3,)

 
  "Where the beames of starres have carv'd
  Their powerful influences."
 

Mr. White repeatedly couples together the translators of the Bible and Shakspeare, but he seems to have studied their grammar but carelessly. "Whom therefore ye ignorantly worship, him declare I unto you," is a case in point, and we ought never to forget our danger from that dusky personage who goes about "seeking whom he may devour." At a time when correction of the press was so imperfect, one instance of true construction should outweigh twenty false, and nothing could be easier than the mistake of who for whom, when the latter was written wh[=o]. A glance at Ben Jonson's English Grammar is worth more than all theorizing. Mr. White thinks it probable that Shakspeare understood French, Latin, and Italian, but not—English!

The truth is, that, however forms of spelling varied, (as they must where both writers and printers spelt phonographically,) the forms of grammatical construction were as strict then as now. There were some differences of usage, as where two nominatives coupled by a conjunction severally governed the verb, and where certain nouns in the plural were joined with a verb in the singular,—as dealings, doings, tidings, odds, and as is still the case with news. It is not impossible that the French termination in esse helped to make the confusion. We have in the opposite way made a plural of riches, which was once singular. Some persons used the strong preterites, and some the weak,—some said snew, thew, sew, and some snowed, thawed, sowed. Bishop Latimer used the preterite shew, which Mr. Bartlett, in his "Dictionary of Americanisms," pronounces to be the shibboleth of Bostonians. But such differences were orthoepic, and not syntactic.

We regret Mr. White's glossological excursions the more because they are utterly supererogatory, and because they seem to imply a rashness of conclusion which can very seldom be laid to his charge as respects the text. He volunteers, without the least occasion for it, an opinion that abye and abide are the same word, (which they are not,) suggests that vile and vild (whose etymology, he says, is obscure) may be related to the Anglo-Saxon hyldan, and tells us that dom is Anglo-Saxon for house. He pronounces ex cathedrâ that besides is only a vulgar form of beside, though the question is still sub judice, and though the language has contrived adverbial and prepositional forms out of the distinction, as it has, in the case of the compounds with ward and wards, adverbial and adjectival ones.³² He declares that the distinction between shall and will was imperfectly known in Shakspeare's time, though we believe it would not be difficult to prove that the distinction was more perfect in some respects than now. We the less value his opinion on these points as he himself shows an incomplete perception of the difference between would and should. (See Vol. V. pp. 114, 115, "We would now say, 'all liveliness,'" and "We would now write, 'the traits of,'" etc.) He says that the pronunciation commandèment was already going out of use two centuries and a half ago. Mr. Pegge speaks of it as a common Cockneyism at the beginning of this century. Sometimes this hastiness, however, affects the value of an elucidatory note, as where he tells us that a principality is "an angel of the highest rank next to divinity" [deity], and quotes St. Paul, breaking off the passage at the word in question. But St. Paul goes on to say powers,—and there were, in fact, three orders of angels above the principalities, the highest being the Seraphim. An editor should be silent or correct, especially where there is no need of saying anything.

But it is after Mr. White has been bitten by the oestrum of Shakspearian pronunciation that he becomes thoroughly contradictory of himself, especially after he has taken up the notion that "Much Ado about Nothing" is "Much Ado about Noting," and that the th was not sounded in the England of Shakspeare. After that, his theory of rhetorical variety seems to become that of Geoffroy, "dire, redire, et se contredire." First he tells us, (Vol. II. p. 94,) that "the old form 'murther' should be retained because it is etymologically correct, and because it was the uniform orthography of the day, [a hasty assumption,] and the word was pronounced in accordance with it." Next, (in order to sustain his anti-th theory,) he says, (Vol. III. p. 227,) that "the last syllable of 'murder,' then written _mur_th_er_, seems to have been pronounced somewhat like the same syllable of the French meurtre." He assures us (Vol. III. p. 340) that raisin was pronounced as we now pronounce reason, and adds, "The custom has not entirely passed away." Certainly not, as any one who knows Thackeray's "Mulligan of Ballymulligan" is aware. But Mr. White (having forgotten for a moment his conclusion that swears was anciently sweers) quotes (Vol. V. pp. 399-400) from the "Haven of Health" as follows:—"Among us in England they be of two sorts, that is to say, great Raysons and small Raysons" (the Italics are our own). In "Love's Labor's Lost," he spells Biron Birone, (Chapman spelt it Byron,) as being nearer the supposed pronunciation of Shakspeare's day; but finding it rhyming with moon, he is obliged also to assume that moon was called mown, and is severe on Mr. Fox for saying Touloon. He forgets that we have other words of the same termination in English for whose pronunciation Mr. Fox did not set the fashion. The French termination on became oon in bassoon, pontoon, balloon, galloon, spontoon, raccoon, (Fr. raton,) Quiberoon, Cape Bretoon, without any help from Mr. Fox. So also croon from (Fr.) carogne,—of which Dr. Richardson (following Jamieson) gives a false etymology. The occurrence of pontoon in Blount's "Glossographia," published before Mr. Fox was born, shows the tendency of the language.³³ Or did Mr. Fox invent the word boon?

The pronunciation of words in Shakspeare's time is a matter of no particular consequence, except that it may be made the basis of conjectural emendation. This consideration gives the question some importance, and, as error is one of those plants which propagate themselves from the root, it is well to attempt its thorough eradication at the outset.

Autolycus sings,—

 
  "If tinkers may have leave to live,
    And bear the sow-skin bowget;
 
 
  Then my account I well may give,
    And in the stocks avouch it."
 

Upon this Mr. White has the following note:—

"'The sow-skin bowget':—i.e. budget; the change of orthography being made for the sake of the rhyme; about which our early writers, contrary to the received opinion, were very particular. Even Ben Jonson, scholar and grammarian as he was, did not hesitate to make radical changes in orthography to obtain a perfect, in place of an imperfect rhyme. The fact is important in the history of our language." (Vol. V. pp. 398-9.)

Readers of our older literature are familiar with what the early writers of treatises on poetry say upon this subject, concerning which, under the head of licentia poetica, they give some rather minute directions. But we think Mr. White's expression "radical changes" a little strong. The insurmountable difficulty, however, in the way of forming a decided judgment, is plain at the first glance. You have not, as Dr. Kitchener would say, caught your hare; you have no standard. Quis custodiet ipsos custodes? How shall you determine how your first word is pronounced? and which of two rhyming words shall dominate the other? In the present instance how do we know that avouch was sounded as it is now? Its being from the French would lead us to doubt it. And how do we know that bowget was not pronounced boodget, as it would be, according to Mr. White, if spelt budget? Bishop Hall makes fool rhyme with cowl. That ou was sometimes pronounced oo is certain. Gill (of whom infra) says that the Boreales pronounced wound, waund, and gown, gaun or geaun.

Mr. White supposes that ea was sounded like ee. We are inclined to question it, and to think that here again the French element in our language has made confusion. It is certain that ea represents in many words the French e and ai,—as in measure and pleasure. The Irish, who were taught English by Anglo-Normans, persist in giving the ea its original sound (as baste for beast); and we Northern Yankees need not go five miles in any direction to hear maysure and playsure. How long did this pronunciation last in England? to how many words did it extend? and did it infect any of Saxon root? It is impossible to say. Was beat called bate? One of Mr. White's variations from the Folio is "bull-baiting" for "bold-beating." The mistake could have arisen only from the identity in sound of the ea in the one with ai in the other. Butler, too, rhymes drum-beat with combat. But beat is from the French. When we find least, (Saxon,) then, rhyming with feast, (French,) and also with best, (Shakspeare has beast and blest,) which is more probable, that best took the sound of beest, or that we have a slightly imperfect rhyme, with the [=a] somewhat shorter in one word than the other? We think the latter. One of the very words adduced by Mr. White (yeasty) is spelt yesty in the Folio. But will rhymes help us? Let us see. Sir Thomas Wyat rhymes heares and hairs; Sir Walter Raleigh, teares and despairs; Chapman, tear (verb) with ear and appear; Shakspeare, ear with hair and fear, tears with hairs, and sea with play; Bishop Hall, years with rehearse and expires, and meales with quailes. Will Mr. White decide how the ea was sounded? We think the stronger case is made out for the [=a] than for the ee,—for swears as we now pronounce it, than for sweers; though we fear our tired readers may be tempted to perform the ceremony implied by the verb without much regard to its orthoëpy.

Mr. White tells us that on and one were pronounced alike, because Speed puns upon their assonance. He inclines to the opinion that o had commonly the long sound, as in tone, and supposes both words to have been pronounced like own. But was absolute identity in sound ever necessary to a pun, especially in those simpler and happier days? Puttenham, in his "English Poesy," gives as a specimen of the art in those days a play upon the words lubber and lover, appreciable now only by Ethiopian minstrels, but interesting as showing that the tendency of b and v to run together was more sensible then than now.³⁴ But Shakspeare unfortunately rhymes on with man, in which case we must either give the one word the Scotch pronunciation of mon, or Hibernicize the other into ahn. So we find son, which according to Mr. White would be pronounced sone, coquetting with sun; and Dr. Donne, who ought to have called himself Doane, was ignorant enough to remain all his life Dr. Dunn. But the fact is, that rhymes are no safe guides, for they were not so perfect as Mr. White would have us believe. Shakspeare rhymed broken with open, sentinel with kill, and downs with hounds,—to go no farther. Did he, (dreadful thought!) in that imperfect rhyme of leap and swept, (Merry Wives,) call the former lape and the latter (Yankicè) swep'? This would jump with Mr. White's often-recurring suggestion of the Elizabethanism of our provincial dialect.

Mr. White speaks of the vowels as having had their "pure sound" in the Elizabethan age. We are not sure if we understand him rightly; but have they lost it? We English have the same vowel-sounds with other nations, but indicate them by different signs. Slight changes in orthoëpy we cannot account for, except by pleading the general issue of custom. Why should foot and boot be sounded differently? Why food and good? Why should the Yankee mark the distinction between the two former words, and blur it in the case of the latter, thereby incurring the awful displeasure of the "Autocrat," who trusses him, falcon-like, before his million readers and adorers? Why should the Frenchman call his wooden shoe a sabot and his old shoe a savate, both from the same root? Alas, we must too often in philology take Rabelais's reason for Friar John's nose! With regard to the pronunciation of the vowels in Queen Bess's days, so much is probable,—that the a in words from the French had more of the ah sound than now, if rhymes may be trusted. We find placed rhyming with past; we find the participle saft formed from save. One relic of this occurs to us as still surviving in that slang which preserves for us so many glossologic treasures,—chauffer,—to chafe, (in the sense of angering,)—to chaff. The same is true of our Yankee ch[)a]mber, d[)a]nger, and m[)a]nger, cited by Mr. White.

If we have apprehended the bearing of Mr. White's quotation from Butler's English Grammar, we think he has misapprehended Butler. We wish he had not broken the extract off so short, with an etc. What did Butler mean by "oo short"? Mr. White draws the inference that Puck was called Pook, and that, since it was made to rhyme with luck, that word and "all of similar orthography" were pronounced with an oo. Did our ancestors have no short u, answering somewhat to the sound of that vowel in the French un? We have little doubt of it; and since Mr. White repeats so often that we Yankees have retained the Elizabethan words and sounds, may we not claim their pronunciation of put (like but) and sut for soot, as relics of it? If they had it not, how soon did it come into the language? Already we find Lord Herbert of Cherbury using pundonnore, (point d'honneur,) which may supply Dr. Richardson with the link he wants between pun and point, for the next edition of his Dictionary. Alexander Gill, head-master of St. Paul's School and Milton's teacher, published his "Logonomia Anglica" in 1621, a book which throws more light on the contemporary pronunciation of English than any other we know of. He makes three forms of u: the tenuis, as in use,—the crassa brevis, as in us,—and the longa, as in ooze. The Saxons had, doubtless, two sounds of oo, a long and a short; and the Normans brought them a third in the French liquid u, if they had it not before. We say if, because their organs have boggled so at the sound in certain combinations, ending in such wine-thick success as piktcher, portraitcher.

"On earth's green cinkcher fell a heavy Jew!"

That the u had formerly, in many cases, the sound attributed to it by Mr. White, we have no question; that it had that sound when Shakspeare wrote "Midsummer Night's Dream," and in such words as luck, is not so clear to us. We suspect that form of it was already retreating into the provincial dialects, where it still survives.

Another of Mr. White's theories is that moon was pronounced mown. Perhaps it was; but, if so, it is singular that this pronunciation is not found in any dialect of our language where almost every other archaism is caught skulking. And why was it spelt moon? When did soon and spoon take their present form and sound? That oo was not sounded like o long is certain from Webbe's saying, that, to make poore and doore rhyme with more, they must be written pore and dore. Mr. White says also that shrew was pronounced shrow, and cites as parallel cases sew and shew. If New England authority be worth anything, we have the old sound here in the pronunciation soo, once universal, and according both with Saxon and Latin analogy. Moreover, Bishop Hall rhymes shew with mew and sue; so that it will not do to be positive.