412 



NOTES AND QUERIES. 



[2nd s. N" 73., May 23. '67. 



This account is false ; the disingenuous writer 

 found the German equivalent (" in-eins-bildung"), 

 and the neological idea, in the works of Schelling 

 (together with the aesthetics and transcendental 

 philosophy of the Biographia Literaria), and 

 simply recast it into its original Greek, with the 

 assertion at once true and false, " the word is not 

 in Johnson, nor have I met with it elsewhere." 



With ideas increasing in number and com- 

 plicity, and the ever varying relations and com- 

 binations of objects and circumstances, arises the 

 hourly necessity for the modification of old and 

 the invention and composition of new words to 

 express them. It is not amiss to trace the paren- 

 tage of these, and ascertain to whom we are in- 

 debted for the machinery which at once defines 

 and renders intelligible our own idea, and enables 

 us to communicate it to others. I cite a passage 

 from a paper on " The English Language " in 

 Blackivood's Magazine, which may serve as a 

 nucletis for similar information : — 



« A few insulated words have been continually nou- 

 rished by authors ; that is, transferred to other uses, or 

 formed by thoughtful composition and decomposition, or 

 by skilful alterations of form and inflexion. Thus Mr. 

 Coleridge introduced the fine word ancestral, in lieu of the 

 lumbering word ancestorial, about the year 1798. Milton 

 introduced the indispensable word sensuous. Daniel, the 

 truly philosophic poet and historian, introduced the splen- 

 did class of words with the afiix of inter, to denote re- 

 ciprocation, e. g. interpenetrate, to express mutual or inter- 

 changeable penetration ; a form of composition which is 

 deeply beneficial to the language, and has been exten- 

 sively adopted by Coleridge. We ourselves may boast to 

 have introduced the word orchestric, which we regard 

 with parental pride, as a word expressive of that artificial 

 and pompous music which attends, for instance, the ela- 

 borate hexameter verse of Rome and Greece, in com- 

 parison with the simpler rhyme of the more exclusively 

 accentual metres in modern, languages ; or expressive of 

 any organized music, in opposition to the natural war- 

 bling of the words." — Vol. xlv. p. 461., note. 



William Bates. 



Birmingham. 



Derived from els ev irXdrTeiv (or irxdccreiv^, that is, 

 formation into one ; in German, In^Eins-Bildung. 



Coleridge claims it as his own coinage ; " I con- 

 structed it myself," &c., — Biographia Literaria, 

 vol. i., 1847, p. 173. 



Some contend that Coleridge appropriated it 

 from Schelling. So ^homas de Quincey, and his 

 reviewer in Blackwood, to which review I cannot 

 give the reference. 



The brothers Hare, in Guesses at Truth, 3rd 

 edit. 1st Series, p. 304., object to the word, as 

 composed on a. wrong analogy. It is there con- 

 tended that if there had been such a word, it 

 would have come from as iv vxdrretv (not eV). 

 Thus the Greeks had the word elfffniropfvoixat (to 

 travel as a merchant), and iixirKarrsiy, whence 

 ifivXacrrSs (daubed over). 



C. Mansfieli) Inglbbt. 



"god save the king." 

 (2°'^ S, ii. 60. 96. ; iii. 137.) 



On July 19, 1856, A. A. D. inquires, "Who 

 made God save the King ? " and he is told in reply 

 that Mr. William Chappell " ascribes the music 

 without hesitation to Henry Carey, and no sub- 

 sequent researches have induced Mb. William 

 Chappell to change his views of its authorship." 

 On August 2, I declare, " no doubt can exist that 

 Dr. John Bull was the composer of this tune, for it 

 stands in the volume of MS. music by Bull, for- 

 merly the property of Dr. Pepusch, now of Mr. 

 Richard Clark." On February 14, 1857, Mr. 

 William Chappell writes thus : — 



" I wish to protest against De. Gauntlett's assertion 

 that no doubt can exist that Dr. John Bull was the com- 

 poser of God save the King. I shall have occasion to 

 print my reasons for discrediting it, but the argument 

 would be too long for ' N. & Q.' " 



Circumstances have prevented me seeing the 

 widow of the late Mr. Richard Clark until yester- 

 day, and I now forward the result of my inter- 

 view with her. 



About the month of May, 1856, Mr. William 

 Chappell called on Mr. Clark, and for the first 

 time he sees the MS. of Dr. John Bull, and 

 examines the tune and hears it played. He then 

 in the presence of Mrs. Clark says : " Well, Mr. 

 Clark, there is not a shadow of a doubt that it is 

 here — this is the tune." The permission to take 

 a copy of the melody was refused. The 27th of 

 May, 1856, he writes to Mr. Clark : 



" I shall be happy to print Dr. Bull's ' God save the 

 King' for you. If so, it would be desirable to entrust the 

 MS. to me, that to those wishing to subscribe I may show 

 the air is really there. Or I will five you 50^. for the , 

 book." 



On June 28, 1856, he writes : 



" I recommend the publication not to be expensive, 

 otherwise people will be satisfied with knowing the fact of 

 the authorship to have been established, and will not buy." 



On September 4, 1856, he writes : 



" You have suffered Dr. Gauntlett to get the start 

 of you, and to publish the fact of its existence in your MS, 

 to the world in ' N. & Q.' " 



On September 12, 1856 : 



" I do not mean that I have not wished to buy ' God 

 save the King' from Dr. Bull's MS. I ofiered you 50/.," 

 &c. 



It now remains for Mr. William Chappell to 

 reconcile his letters to Mr. Richard Clark and 

 his protest in disbelief of my assertion. 



H. J. Gauntlett. 



Powys Place, May 16, 1857. 



BRAOSE AND BELET FAMILIES. 



(2"'i S. iii. 331.) 

 I have endeavoured, as well as your correspon- 

 dent, to trace the lineage of the family of Braose, 



