150 
NOTES AND QUERIES. 
[No. 10 
distinct senses, as = common and as = reciprocal ; 
we shall speak confusedly of our “ mutual friend- 
ship,” z.e. “‘ our friendship to each other,” and of 
our “mutual friend,” 7. e. “a friend to us both.” 
This is to rob language of that metaphysical truth 
and precision which ought to belong to it. 
Bens. H. Kennepy. 
Shrewsbury, Dec. 22. 
GRAY’'S ELEGY. 
Van Voorst's Polyglot Edition. —In reply to the 
communication of J.F.M.in your Number re- 
specting Gray’s Elegy, I beg to state that there 
was an edition in 1 vol. 8vo. published by Van 
Voorst in 1839, on every other page of which there | 
is a neat woodcut and the English version of one 
verse, and on the page facing it a translation in 
Greek by Professor Cooke beginning, 
Nvé réAci, od’ Gv” Gypms Tupa KateTat, ovd’ avd KGuds, 
Latin by Rev. W. Hildyard, 
Audin’ ut occiduz sonitum ecampana diel, 
German by Gotter (from the Deutsches Lesebuch; 
Bremen, 1837): 
Die Abendglocke ruft den miiden Tag zu Grabe. 
Italian by Guiseppe Torelli: 
Segna la squilla il di, che gia vien manco. 
And in French by Le Tourneur : 
Le jour fuit ; de lairain les lugubres accens. 
H. C. pe Sr. Crorx. 
Torri’s Polyglot Edition.— There is a polyglot 
edition of the Elegy published with the following 
title :—*‘ Elegia di Tommaso Gray sopra un Cimi- 
tero di Campagna, tradotta dall’ Inglese in piu 
lingue: per cura del dottore Alessandro Torri ; 
royal 8vo., Livorno, 1843.” — It contains Ztalian 
versions severally by G. Torelli, Domenica Trant 
(prose), Melch. Cesarotti, G. Gennari, M. Lastri, 
A. Buttura, P. G. Baraldi, M. A. Castellazzi, Elisa- 
betta Sesler Bond (prose), M. Leoni, L. Mancini, 
and Franc. Cavazzocea; those in Zatin are by J. 
Costa, Anstey, G. F. Barbieri, Ben. del Bene, G. 
Venturi; Hebrew by Venturi; French by Le 
Mierre, Kérivalant, J. L.Grénus, P. J. Charrin, 
M. J. De Chénier, and Chateaubriand; German 
by W. Mason, F. G. Gotter, G. B. Rupprecht, and 
L. Kosegarten. 
Will you allow me to put the following query ? 
Is there not some error, or some obscurity, in the 
last stanza of the epitaph? If I err in the conjec- 
ture, I should be glad to have my mistake cor- 
rected ; or if the reading as it now stands be faulty, 
some amendment suggested. 
** No farther seek his merits to disclose, 
Or draw his frailties from their dread abode ; 
(There they alike in trembling hope repose) 
The bosom of his Father and his God.” 
If it be said that the abode meant is the bosom 
of his Father and his God, I ask how can merits 
and frailties repose in trembling hope there — the 
frailties alike with the merits? Impossible: put 
in plain prose, the expression is, to say the least, 
irreverent. The abode meant I take to be the 
grave; and if it be asked how can merits and 
frailties repose even there, it may be answered that 
they are qualities or adjuncts of the mind, used 
poetically for the person. A. GRAYAN. 
German Versions of Gray's Elegy.— I know of 
three translations into German of Gray's Elegy 
by poets of some note, and I recollect having at 
different times met with numerous others. 
The three are, 1. By Gotter, published in his 
collected poems, Gotha, 1788. 2. By Seume, in his 
collected poems, Riga, 1801. 8. By Kosegarten, 
in his poems, published 1798. All three were, I 
believe, first published in the Musenalmanach. 
The first line quoted by your correspondents is 
not that of any of the above, they are much closer 
translations; that by Gotter is almost word for 
word, without losing a particle of its beauty as a 
poem. Ss. W, 
[C. B. B. informs us that there is a Latin version of 
a good part of Gray’s Elegy in the Anthologia Oxoniensis 
(published by Longmans either in 1846 or 1847), by 
Goldwin Smith, Stowell Fellow of University College, 
Oxford. ] 
NOTES UPON CUNNINGHAM’S HANDBOOK FOR 
LONDON. 
Sans Souci Theatre, Leicester Place. — This 
theatre was originally built by Dibdin, the cele- 
brated sea-song writer, at the back of his music 
shop in the Strand. It was opened on the 16th 
of February, 1793. Park, in his Musical Memoirs, 
i. 175., says, “ As a proof of the versatility of Dib- 
din’s genius, it need only be stated that this pretty 
little theatre was planned, painted, and decorated 
by himself, and that he wrote the recitations and 
songs, composed the music to them, and sang and 
accompanied them on an organised pianoforte of 
his own invention.” Dibdin afterwards rebuilt this 
theatre in Leicester Place. It was subsequently 
used for concerts and private performances, and is 
now the “ Hotel de Versailles.” 
Tottenham Street, Tottenham Court Road.*— 
What is now the theatre in this street was formerly 
Francis Pasquali’s concert-room. It was after- 
wards purchased by the royal and noble directors 
of the concerts of ancient music, who enlarged and 
beautified the building, and erected a splendid box 
for their Majesties George the Third and his queen. 
It subsequently became a theatre under the names 
* Not Rathbone Place, as it is called by Mr. Cun- 
ningham, 
Sigs ee Re 
es 
“mtr ey 
