484 



NOTES AND QUERIES. 



[No. 134. 



" Her mother was her painting.^'' — Ct/mbeline, 

 Act III. Sc. 4. — I have read Mr. Halliwell's 

 pamphlet upon this expression, noticed in "N.'& 

 Q." of the 10th of April (p. 358.) I would beg to 

 suggest to that gentleman that he has overlooked 

 one" text in Shakspeare that would tell more for 

 his argument than the whole of those he has cited. 

 All his examples are drawn from the word father, 

 metaphorically applied in the sense of creator to 

 inanimate objects ; and the same sense he extends, 

 by analogy, to mother. But in the following lines 

 from As You Like It (Act III. Sc. 5.), mother is 

 directly used as a sort of warranty of female 

 beauty ! Rosalind is reproving Phebe for her 

 contempt of her lover, and in derision of her 

 beauty, she asks : 



" Who might be your mother ? 

 That you insult, exult, and all at once, 

 Over the wretched ? " 



Now if Phebe had been one who smothered her 

 in painting, an appropriate answer to Rosalind's 

 question might have been — her mother was her 

 painting ! 



!RIost certainly, this latter phrase is the more 

 graceful mode of expressing the idea — far more 

 in unison with the language one would expect 

 from the refined, the delicate, the bewitching 

 Imogen — from her who wished to set " that part- 

 ing kiss betwixt two charming words" A. E. B. 



Leeds. 



PUBLICATIONS OF THE STDTTGAKT SOCIETY. 



The following is a list of the works which have 

 appeared under the auspices of the Stuttgart 

 Society, referred to in my Note respecting Felix 

 Faber : — 



I. 1. Closener's Strassburgische Clironik. 

 2. Des Ritters G eorg von Ehingen Reisen, 

 (a). Nach der Ritterschaft. 

 (ft). -S^neas Sylvius Piccolomineus de 



Virls illustribus. 

 (c). Ott Ruland's Handlungsbuch. 

 (d). Codex Hirsaugiensis. 

 II. — IV. Fratris Felicis Fabri Evagatorlum, 



3 vols. 

 V. (a). Die Weingartner Liederhandschrlft. 

 (6). Italiiinische Lieder des Hohenstau- 

 fischen Hofes in Sicilien. 

 VI. Briefe der Prinzessin Elisabeth Charlotte 

 V. Orleans an die Raugrafin Louise 

 (1676—1722). 

 VII. (a). Des Bbhmischen Herrn Leo's von 

 Rozmital Reise durch die Abend- 

 lande in den Jahren 1465, 1466, 

 und 1467. 

 (V). Die Livlandische Reimchroiiik. 

 VIII. Chronik des Edleu En Ramon Muntar.e:'. 



IX. (a). Bruchstiick iiber den Kreuzzug 

 Friederichs I. 

 (V). Ein Buch von guter Speise. 

 (c). Die alte Heidelberger Liederhand- 

 schrlft. 

 X. Urkunden, Briefe und Actenstucke zur 

 Geschichte Maximilians I. und seiner 

 Zeit. 

 XL Staatspapiere zur Geschichte des Kaisers 



Karl V. 

 XII. Das Ambraser Liederbuch vom Jahre 

 1582. 



XIII. Li Romans d'AlIxandre par Lambert, Li 



Tors et Alexandre de Bernay. 



XIV. Urkunden zur Geschichte des Schwa- 



bischen Bundes (1488 — 1533), Erster 

 Theil, 1488—1506. 

 XV. Cancionero Geral I. 



XVI. (a). Carmina Burana (from a MS. of 

 thirteenth century). 

 (&). Albert v. Beham u. Regerten Papst 

 Innocenz IV. 

 XVII. Cancionero Geral 11. 

 XVJII. Konrads von Weinsberg Einnahmen- und 

 Ausgaben-Register. 

 XIX. Das Ilabsburg.-GSsterreichische Urbar- 

 buch. 

 XX. Hadaraars v. Laber Jagd. 

 XXI. Meister Altswert. 

 XXII. Meinauer Naturlehre (circa 1300). 

 XXIII. Der Ring, von Heinrich Wittenweiler, 

 XXV. Ludolfi de Itinere terraj sanctaj liber 

 {circa 1350). 

 Vol. XXIV. is in the press. F. Noegate. 



MANUSCRIPT SHAKSPEAHE EMENDATIONS. 



Your able correspondent Mr. S. W. Singer, in 

 Vol. v., p. 436., gives his positive adhesion to Mk. 

 Collier's emendation of the corruption " bosom 

 multiplied" in Coriolanus, Act III. Sc. 1. Agree- 

 ing with Mr. Singer in his opinion of the value 

 of this emendation, there is yet an importance 

 attached to it which I feel sure Mr. Collier will 

 not object to have pointed out, although doubtlessly 

 all the argument respecting the sources of his 

 early MS. corrections will be carefully considered 

 in the volume he so liberally intends presenting to 

 the Shakspeare Society. Shakspearian criticism 

 is a field so open to varied opinions, and is a sub- 

 ject on which so few can be brought exactly to 

 agree, it is a mere chance if, in addressing these 

 few lines, I in any degree anticipate Mr. Collier's 

 conclusions. 



Mr. Collier's discovery was, perhaps, of even 

 greater interest to myself than to others, not merely 

 on account of its being an important evidence for 

 the state of the text, hut because I had long since 

 had the opportunity of using a volume of precisely 



