•2"d a VI. 136., Aug. 7. '58.] 



NOTES AND QUERIES. 



115 



that such "art of delivery" (elocution), although 

 it had lately been introduced into tragedy and 

 publie recitations, had not been fully treated of, 

 and had been only partially handled by Thrasy- 

 machus on the excitement of compassion : but that 

 when it should be introduced into oratory it would 

 produce the same results as acting. He adds, in 

 effect, artis est celai-e artem : — 



" Ato Sei \av9dveiv irotoOi/ra?, Kac /utj SoKelv Ae'yeiv TreirKaafie- 

 vws, aAAa neipvKOTto^f toOto yap Tridafou' eKctfO 5€, TOut'ai'Ttoi'' 

 W5 ydip TTpo? €7rt ^ouAeuoi'Ta Sta^dWovTa.L, KaOdirefi Trpbs tous 



" On which account observation must be parried by 

 not appearing to speak in an artificial way, but naturally, 

 the one method inducing persuasion, the other the con- 

 trary, because people put themselves on their guard, as 

 they would against adulterated wine." 



Harris (Philolog. Inq. ii. 4.), sjieaking of Gar- 

 rick's acting, says : — 



"And how did that able genius employ his art? Not 

 by a vain ostentation of any one of his powers, but by a 

 latent use of them all in such an exhibition of nature, 

 that, while we were present in a theatre, and only be- 

 holding an actor, we could not help thinking ourselves 

 in Denmark with Hamlet, or in Bosworth Field with 

 Richard." 



He had no aid in his acting from dress, as he 

 appeared in a court suit of sky-blue and scarlet in 

 Macbeth. 



Aristotle also observes that virSKpia-is is a gift of 

 nature, and rather without the province of art : 

 " ttrrt (picrews rh vnoKp'mKov elvai, koI arexvoTepoi'. 



Quinctilian (vi. 2.) says : — 



"Afficiamurque antequam afficere conemur .... per 

 quas imagines QtiavTaa-ia^') rerum absentium ita reprse- 

 sentantur animo, ut eas cernere oculis, ac prsesentes ha- 

 bere videamur : has quisquis bene conceperit, is erit in 

 afifectibus potentissimus." 



This power of imagination, and control over 

 it, is required to impart vitality to all the other 

 numerous qualifications of an orator. The House 

 of Commons is a different arena from that of 

 Demosthenes : few of the members can expect to 

 obtain a hearing ; and a speaker, whether orator 

 or not, is listened to in deference to the number 

 of members he, as the exponent of his set or 

 party, is likely to bring to the vote. 



T. J. BUCKTON. 



The famous answer of Demosthenes to the ques- 

 tion about oratory — that action is the first, 

 second, and third — meaning by action, delivery 

 and voice still more than gesture, is referred to by 

 Cicero, de Oratore, lib. iii. 214., Orat. 55., and 

 Brutus, 234. ; and Cicero considers it as applying 

 more to the voice than the gesture. The Greek is 

 not dKipdfriffis, nor ivfpryfia, but it plainly includes 

 both. E. C. B. 



The story about Demosthenes is told in more 

 than one of the Greek rhetoricians ; for a moic 



familiar passage, see Cicero, De Clnvis Oratorihus, 

 c. 38. : — 



"Demosthenem ferunt ei, qui qusesivissef, quid primum 

 esset in dicendo, actionem ; quid secundum, idem ; et idem 

 tertiura respondisse." 



The Greek word used is, if I remember aright, 

 irrroKpicns ; what it means is obvious. If your cor- 

 respondent does not think it is obvious, he will find 

 plenty of references in Ernesti's Lexicon of the 

 Greek Rhetoricians, to places where he will find 

 enough to satisfy him. M. P. D. 



TRANCE-LEGENDS. 



(1* S. X. 457. 480. ; 2"" S. ili. 162.) 



" Peter the Goatherd is the ' Ziegenhirt ' of Otmar's 

 Collection of the Ancient Tales and Traditions cur- 

 rent in the Hartz. The name of Frederick Barba- 

 rossa is associated with the earliest cultivation of the 

 Muses in Germany .... Frederic was a patron of the 

 minstrel arts ; and it is remarkable that the Hartz tra- 

 ditions still make him attached to similar pursuits, and 

 tell how musicians, who have sought the caverns where 

 he sits entranced, have been richly rewarded by his 

 bounty. 



" The author of the Sketch Book has made use of this 

 tale as the plot of his ' Rip Van Winkle.' There are 

 several German traditions and ballads which turn on the 

 unsuspected lapse of time under enchantment ; and we may 

 remember in connexion with it, the ancient story of the 

 ' Seven Sleepers ' of the fifth century. ( Gibbon, vi. 32.) 

 That tradition was adopted by Mahomet, and has, as 

 Gibbon observes, been also adopted and adorned by the 

 nations from Bengal to Africa, who profess the Maho- 

 metan religion. It was translated into Latin before the 

 end of the sixth century by Gregory of Tours ; and 

 Paulus Diaconus (_De Gestis Longobardorum), in the 

 eighth century, places seven sleepers in the North under 

 a rock by the sea-shore .... The next step is to ani- 

 mate the period dropt from real life — the parenthesis of 

 existence — with characteristic adventures, as in the 

 story of ' the Elfin Grove ' in Tieck's Phantasus ; and as 

 in ' The Dean of Santiago,' a Spanish tale from the Conde 

 Lucanor, translated in the JVeu' Monthly Magazine for 

 August, 1824, where several similar stories are referred 

 to." — Gerinan Popular Stories from 3IM. Grimm, Lond. 

 1824-5, 2 vols , vol. ii. p. 250. 



Another trance-legend we may notice is that 

 of Domroschen or Thorn-Rose, commonly called 

 " The Sleeping Beauty." Tennyson has depicted 

 the leading incident in his poem entitled " The 

 Sleeping Palace," if I remember right. 



'^Domroschen is a Hessian story. MM. Grimm ob- 

 serve a connexion between this fable and the ancient 

 tradition of the Restoration of Brynhilda by Sigurd, as 

 narrated in the Edda of Sa^mund, in Volsunga Saga. 

 Sigurd pierces the enchanted fortifications and rouses the 

 heroine. ' Who is it,' said she, ' of might sufficient to 

 rend my armour and to break my sleep.'' She after- 

 wards tells the cause of her trance: 'Two Kings con- 

 tended; one bight Hialmgunnar, and lie was old but of 

 mickle might, and Odin had promised him the victory. 

 I felled him in fight; but Odin struck my head with the 

 Sleepij-Thorv. (the Thorn-rose or Dog-rose, see Alt- 

 deutsche fValder, i. 135.), and said I should never be again 

 victorious, and should be hereafter wedded.' (Herbert's 



