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WILLIAM POPPLE.-I wish farther particulars of him. He was a nephew of Andrew Marvell, and the author of The Rational Catechism, London, 1697, 12mo (reprinted at Amsterdam, 1712, 12mo). He translated Locke's first published work, the Letter on Toleration, printed in Latin at Gouda 1689, and the translation appeared in London, both in 4to and 12mo, the same year. He was appointed secretary to the Board of Trade in 1696, and filled that post for many years. Locke was one of the commissioners from 1696 to 1700, and seems to have been on intimate terms with Popple, as I find in his MSS. letters and diaries frequent notices of Popple's visits to Oates, &c. There was another William Popple, who I take to have been a son. He was appointed solicitor and clerk of reports to the Board of Trade 1737, and died in 1764, as the Governor of the Bahamas. He was the author of two comedies, The Lady's Revenge, 1734, and The Double Deceit, 1736; contributed several songs and verses to Richard Savage's Collection, 1726; published a translation of Horace's Art of Poetry, and was associated with Aaron Hill in a periodical called The Prompter. B. R. L.

OLD SANDWICH.-In some novel or serial tale, I met, not less than eighteen or twenty years ago, with a striking and picturesque description of Old Sandwich. Will any reader kindly inform me where this description may be found, and help a failing memory? SCHIN.

SABINE QUARTERING. I have a seal of the Sabine family, on which the arms-arg. an escallop gu., on a chief sa. two mullets pierced of the first-are quartered with sa. three bees.

I am desirous of learning to what family this latter quartering belongs, and by what match it was brought into the Sabine family. Any correspondent able to inform me will greatly oblige. J. WOODWARD.

Queries with Answers. SUBSIDIES.Upon what principle were the "subsidies" levied in respect to lands? I find as late as Henry VIII. the assessment upon lands in large and wealthy parishes was trifling, as compared with the assessment upon goods, no more than one or two individuals being assessed at all upon lands, and those of very small value, even assuming that the basis of assessment, or assessable value, was fixed-as was, I believe, the case-in the time of Edward III. Were any lands exempt from the charge? If so, what description of lands? I have heard that peers of parliament and lords of manors were exempt. Was this the case? Were all lands held in capite exempt? or were lands held in capite, not being manors, chargeable? And were lands held in socage, or by baser

tenures, of manors free in respect to the privileges of manors as suggested above? I cannot account for the disparity in the assessments upon lands and goods or personal estate, and shall be greatly obliged for information. JOHN MACLEAN. Hammersmith.

[Subsidies and "tenths" or "fifteenths" were originally assessed upon each individual, but subsequently to 8 Edward III., when a taxation was made upon all the towns, cities, and boroughs by royal commissioners, the "tenth" or "fifteenth" became a sum certain, being a tenth or fifteenth part of their then existing value. After these had been granted by the legislature, the inhabitants rated themselves. The subsidy never having been thus fixed, continued uncertain, and was levied upon each person in respect of his lands and goods. But it appears that a person paid only in the county in which he lived, even though he possessed property in other counties; and, as Hume has remarked, probably when a man's property increased he paid no more, though when it was diminished he paid less. The subsidy continuing to decrease in amount, a land-tax was eventually substituted for it.

From the time of Ethelred II., A.D. 991, when the danegeld or Danish tribute was imposed (viz. 1s. for each hide of land), to that of Henry II., A.D. 1174, all lands, with the exception of the king's, were subject to this charge (usually 4s. in the pound); only prior to the last-mentioned date (the 20th Hen. II.) its imposition seems to have been at the sovereign's discretion. The Normans and their successors perpetuated it under the system of aids, fines, &c. Neither feodum nor allodium was exempt; because, according to that dominium directum, dating from the Conquest, "all lands and tenements

in England in the hands of subjects are holden me

diately or immediately of the king." (Coke). In me

dieval days, immunity from taxation was claimed by the nobles of France, but by no class of society here; nor was the burthen in question remitted on any occasion, or was it evaded on any pretext whatever.]

QUOTATIONS.-1. Whose is the poem "Widow and Cat," quoted under the word "Perfidy" in the London Encyclopedia, 1829, and where shall I find all the verses?

2. A great many years ago, say upwards of forty, I met with some lines from America, copied into an album, which struck me as novel in their construction, and full of feeling, contrasting age with youth, written by some senior. They went in this fashion:

"Days of my youth! ye have glided away;

Hairs of my youth! ye are frosted and gray," &c. D. B. [1. "The Widow and her Cat" is one of Matthew Prior's Fables.

2. The lines on "Days of my Youth" are by Mr. St. George Tucker of Virginia, U.S., and are printed in "N. & Q." 1st S. viii. 467, and in Gent. Mag. lxxxvi. (ii.) 448.]

"ICH DIEN."-A point of some interest has been lately discussed by me as to the true origin of the motto "Ich Dien." There was no doubt in my mind with respect to it, but a friend, himself a Welshman, disagreed with me, not without a show of reason. He said the saying really meant "your man," from the Welsh eich dyn, which, if accepted, at once determines the time in which the motto was adopted.

Replies.

ECCLESIASTICAL MUSIC.

(4th S. vi. 134.)

The speciality of ecclesiastical music or "plain song" consists in these two particulars: that the time and the musical power of each particular note are relative only instead of absolute, as in ordinary music. The time is entirely subordinated

If, however, the generally accepted notion be the true one, that the Black Prince, when victo-to the words, the tailed note () which falls to rious, adopted the motto, it is not without interest to note the peculiarly striking similarity between the German and Welsh, both of which seem at first sight to be worthy of belief. Perhaps some of your many readers can throw some light on the falsely reported origin of either the one or the other statement. J. R. CRAWFORD.

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[Above a hundred years ago (in Gent. Mag. 1762, p. 458), Mr. C. Evans of Tregner, in Monmouthshire, considered "the Ich Dien genuine Welsh, abating the improper spelling of the first word, which ought to be Vch" but he naively confesses "that the two words, Vch Dien, are understood by none within the Principality." Consult also "N. & Q." 1 S. iii, 168. The late Dr. William Bell published a work of some research, entitled New Readings for the Motto of the Prince of Wales, Parts I. and II., 1861-2.]

LANDS CONFISCATED IN IRELAND.-Can any of your Irish correspondents refer me to any register of confiscated lands of the reign of William and Mary? Were such registers locally kept, or in any one office, and where?

C. M.

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2. "The First and Second Reports of the Commissioners appointed by Parliament to inquire into the Irish Forfeitures, delivered to the House of Commons the 15th of December, 1699." Lond. 1700, fol., 1701, 4to.

the emphatic syllable being only slightly longer, and the lozenge (♦) which is assigned to rapidly uttered syllables only slightly shorter than the () to which the ordinary words and syllables are sung. In short, plain song may be defined as recitative relieved by certain inflections. The recitpositions of the dominant and final, in any paring note is styled the dominant, and the relative ticular piece, constitutes the "mode" in which it is written. Of these, fourteen (or, according to melodies for the hymns, antiphons, introits, grathe modern reckoning, eleven) are employed in the duals, &c., and eight for the psalms. The first, third, fifth, seventh, ninth, eleventh [and thirteenth] "modes" (in which the melody ascends to the fifth above the final and to the fourth above the fifth, and does not descend below the final) are called authentic, as being the original modes; the second, fourth, sixth, eighth, tenth [twelfth and fourteenth] (in which the melody ascends to the fifth above the final, and descends to the fourth below it) are called plagal, as being borrowed from the former.

by the position it holds with regard to the musical 2. The musical power of each note is determined sign called the clef. Of these there are two, the Ut or Do clef and the Fa clef. One or

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other of these clefs is placed at the beginning of the stave in every piece of music, not in any fixed position, as is the case with the modern or : clefs, but on any of the four lines, to which it the several Provinces and Counties, and alphabetical gives the name of Do or Fa, the other lines or

3. In the British Museum is a book, consisting of separate sheets, of Postings and Sale of the Forfeited and other Estates and Interests in Ireland, with an Index to

tables of the late proprietors' and purchasers' names." Dublin, 1703, fol.]

spaces being reckoned from it. It should be added that all ecclesiastical music is written either in the key of C or in that of F. In the latter case JOHN AMOS COMENIUS.-When did he live and the flat (b) is placed immediately after the clef, die? He wrote an elementary Latin book.

M. Y. L.

[John Amos Comenius, a celebrated German educator,

was born at Komna, near Brünn, March 28, 1592, and died at Naarden, Oct. 15, 1671. He published his Janua Linguarum Reserata in 1631. For some account of his Orbis Sensualium Pictus, 1658, see "N. & Q." 3rd S. iii. 112, 216.]

on the space to which the power of Si is assigned. Either key admits of accidental flats, and in later music may be of course transposed into any key plain song of an accidental Fa sharp also; and to suit the voices of the singers.

3. The neuma or pneuma is a number of notes sung to the final syllable, or played on the organ at the conclusion of a piece. According to an eminent Anglo-Gregorian authority, the neuma contains all the distinguishing notes of the "mode"

in which it is written; its last note but one is the dominant, and its last note the final.

If MR. SOMERVELL requires further information, I may inform him that the great Latin authorities on the subject of plain song are-Guidetti (Directorium Chori ad Usum Omnium Ecclesiarum Cathedralium et Collegiatarum, Rome, 1582); Alfieri and Berti, an abstract of whose works is given in A Manual of Instructions on Plain Chant or Gregorian Music, by the Rev. James Jones (London: Dolman, 1845); and the Service books with musical notation published at Mechlin under the editorship of M. Edmond Duval, which can be obtained of any Roman Catholic bookseller. For its revived use in the Church of England, the chief authorities are-the Rev. T. Helmore, A Manual of Plain Song and The Hymnal Noted (Novello); and the Rev. J. W. Doran and Spencer Nottingham, Esq., The Canticles Set to the Gregorian Tones for Festal and Ferial Use; and The Psalter Set to Gregorian Tones (Novello, 1865): from the prefaces to which works MR. SOMERVELL will gain considerable information.

SARISBURIENSIS.

The music referred to by R. SOMERVELL, written on four lines in square-headed notes, is of course the ancient Gregorian, or plain chant. The best and clearest book on the subject, that I know of, is A Manual of Instructions on Plain Chant, or Gregorian Music, by Rev. Jas. Jones. (London: Dolman, 61, New Bond Street, 1845.) Another very useful compilation, which may be consulted, is A Choir Manual, in three parts, which contains every thing to be desired on Gregorian music, and was published in Dublin, by John Coyne, 24, Cooke Street, 1844.

The words in neumes are no doubt of the same signification as the word neupma, or pneuma, which is so often met with in old church music. It means that the music is sung all upon one note. The Promptuarium Parvulorum explains it as"Cantus sine vocis modulatione"; and Du Cange calls it a chant, "quo vocum tonus longius cantando producitur et protrahitur." Hence it was called pneuma, from the same note being held out as with a long breath.

F. C. H.

There is no great difficulty in the four-lined stave if we remember that the clef is movable. It must be noticed at the beginning of each fresh line where the clef is put, as it was indifferently placed on any of the four lines to suit the height or lowness of the note to be sung. The clef was ordinarily of two kinds, either the C or Do clef, or the Fa (F) clef. This was noted usually by a couple of dots placed after it.

The neumata (neumes) are those curious signs, not unlike shorthand, that were placed above the words before the invention of the stave. Some

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SIR WALTER SCOTT'S MISQUOTATIONS.
(4th S. v. 486, 577; vi. 13, 85.)

As the readers of "N. & Q." seem to be in the vein for finding out poor Sir Walter Scott's real or fancied misquotations, I may as well point out what might be termed a flagrant one, which I discovered in reperusing The Heart of Midlothian in the new centenary edition (vol. vii.) At p. 475 it is thus written:—

"The least of these considerations always inclined Butler to measures of conciliation, in so far as he could accede to them without compromising principle; and thus our simple and unpretending heroine had the merit of those peacemakers, to whom it is pronounced as a benediction, that they shall inherit the earth."

Now, on turning to the Gospel of St. Matthew, v. 9, we find that the benediction our Lord pronounced upon peacemakers was-" that they shall be called the children of God."

C. W. BARKLEY intimates (vi. 13) that Sir Walter parodied or misquoted fragments to suit him; but I do not think this can be looked upon as one, but rather in the light of a bona fide misquotation, inasmuch as the worthy baronet has accorded to the peacemakers the blessing pronounced upon the meek (ver. 5.)

I entirely agree with your correspondents that to alter such as these would be most inappropriate. J. S. UDAL. Park Street, Grosvenor Square, W.

C. W. BARKLEY is perhaps on the whole right in asserting that an author's misquotations should be corrected in foot-notes rather than in the body of the text. The greatest writers occasionally misquote their brother authors. Wordsworth was annoyed at Scott, in his notes to Marmion, quoting the appropriate epithet "still Saint Mary's Lake" as "sweet Saint Mary's Lake." Even Lord Macaulay's celebrated schoolboy, with all his

astonishing knowledge and extensive reading, must
sometimes have fallen into an error of this sort.
The motto to the twenty-fifth chapter of the
Talisman contains two really great mistakes, and
I hope Messrs. Black in their new edition of the
Waverley Novels will see that they are corrected,
at least in a foot-note. The first line is quoted
thus-"Yet this inconsistency is such," instead of
"Yet this inconstancy is such," and the lines are
attributed to Montrose, whereas they are by Love-
lace. The great romance writer's fame stands on
too broad and solid a foundation to be in the least
degree affected by trifles like these; still they
should be corrected. With regard to Scott and
his genius, I should very much like to know
whom Mr. John Cordy Jeaffreson alludes to in
his Novelists from Elizabeth to Victoria when he
says that Scott lived to see better novelists than
himself.
JONATHAN BOUCHIER.

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"KIND REGARDS."

(4th S. v. 599; vi. 53, 123.)

I cannot throw any light as to when "kind regards first came into fashion, but believe it was long ere Miss Austen wrote Mansfield Park. You have not justly appreciated the genius which dictated Mary Crawford's speech, or the animus in which she spoke. Perhaps the latter is too feminine to be easily legible to any man. What she wanted to do was to make Edmund suppose she had the wish to send her love to him, but was restrained by a delicate sense of propriety.

understand when I read it in print. I wrote, at
least I intended to write, "appear, in neither in-
stance in a letter of Johnson.'
Your printer puts
a second comma after instance.
I fear the fashion of inserting meaningless commas
is increasing. One hardly ever opens a newspaper
which contains a letter from a correspondent with-
out seeing such punctuations as "I, of course, do
not mean to say," "I, however, am certain that,"
making parenthetic what is not so, and to my
eye marring typographical beauty, also giving
unnecessary trouble to the compositor. Who
would tolerate a sentence in Greek presenting
this appearance, ovтos, dŋλovóti, étoínoev, or this,
oi, d' ovv, is KaσTOL? I may be answered as to the
latter, our "however" is capable of beginning a
sentence, which do is not. Granted, but is av
etro equally is not. I am delighted with editors
who in Dem. I. Olynth. p. 14 § 14 substitute Tí
οὖν τὶς ἂν εἴποι ταῦτα λέγεις ἡμῖν νῦν; for the most
ugly τί οὖν, τὶς ἂν εἴποι, ταῦτα . . .; Commas I am
told illustrate. I think they mislead. Dean Swift
says somewhere of lies that one wants many others
to support it. The same to some extent may be
But in either case they are apt
said of commas.
to impede rather than to bolster up one another.
CHARLES THIRIOLD.

Cambridge.

may be not inappropriately adduced at the present opportunity of this discussion, as it seems quite within the range of mechanism to construct an automaton of sufficient efficiency to be a performer in so simple, and yet so certain, a game.

THE AUTOMATON CHESS-PLAYER. (4th S. v. 402, 509, 563; vi. 49, 115.) As demonstrative of the best moves in a game of a simple kind, and which would seem to be but Her creation of the difficulty was as much a introductory to the best moves in a game of a more trick as Emma Woodhouse's breaking off her boot-complex character, the following illustrative game lace. She meant that Fanny Price should repeat her very words to her cousin, and hoped that in her using "love" he would have found a charm and a flattery that he would never have discovered in the quiet friendliness of "kind regards." That phrase would, as you say, have exactly fitted their intimacy, but it would by no means have exactly fitted the lady's views and wishes. Your remark has reminded me that I once saw an old copy of Sense and Sensibility in which somebody had taken the trouble to correct all Amy Steele's exquisite bad grammar as so many errors of the writer! I do not, however, mean to compare the

two mistakes.

A GREAT-NIECE OF JANE AUSTEN'S.

I add two examples from Tweddell's Remains, "My kindest regards to" (letter dated Jan. 20, 179(7)8), "My best regards ever attend you and all that belong to you" (Sept. 10, 1798).

I avail myself of this occasion to deprecate your printer's too liberal use of commas. One sentence in my former note I could not myself at first

It is nearly forty years since I discovered the certainty of the best moves, and I know that whether an actuated machine or a living player were to be the first player, such first player would be sure to win the game, which is-which player shall first get his three pieces on the three points of any continuous straight line of a square divided into eight equal triangles by the means of perpendicular, horizontal, and diagonal lines, as shown approximately in the following diagram:

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The numbers 1, 2, 3, 4, 5, 6, 7, 8, 9 denote the points on and to and from which the pieces of the players may be placed and moved according to the rules of the game; no piece being allowed to be moved further than from one point to the next point, in any direction, if unoccupied; but if such next point, in

7

8

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The best moves are here given, but if the man had placed his Z in any other unoccupied point than 2 | or 9, the automaton would have won each game with a first move, instead of with a second move; and with the greatest certainty, as the positions of the pieces on the diagram would show, were the games to be actually played.

As it is not incumbent further to remark on uncertain moves, it may nevertheless not be out of place to state in conclusion, that the best moves depend on the first player securing with his firstplaced piece the point 5, and so placing his second piece as to cause the second player to place his first and second pieces on points next to each other, to prevent the first player winning the game by merely placing his third piece, as the playing of the two games already outlined would evidence to be practicable.

The issue, therefore, to any first player, using the best moves, would always be direct and certain victory. J. BEALE.

Spittlegate, Grantham.

It seems to me, though I am not a scientific player, that your correspondents have failed to give the simplest and most unanswerable reason why a truly automatic chess-player cannot be constructed.

Granted, for the sake of argument, that it might be possible to make a machine that will play a perfect game, it will be necessary to the performance of the machine that its adversary be also a perfect player; for every mistake of the living player implies a new starting point, and would necessitate a new adjustment of the machinery. Now it is obvious that, if fresh adjustments are permitted, the machine ceases to be automatic.

VIRION NIGHTON.

"PIERS PLOUGHMAN": DIAPENIDION (4th S. vi. 111.)-By the kindness of Professor Morley, I have been referred to James's Medicinal Dictionary (1745), in which the term Penidium saccharum is explained. The word diapenidion is, in fact, a compound, in which each part is significant. The term dia was applied to any remedy by which relief was sought, and is used by itself by Langland in another passage, as

"And dryuen away deth with dyas and dragges." Piers the Plowman, B. xx. 173. Here dragges, our drugs, is the French dragées, sweetmeats.

The compound word is never spelt otherwise than diapenidion, diapenidioun, or diapendion in the MSS., and the explanation suggested by MR. BUCKTON is not to the purpose, as the root is not Tívw, to drink, but hη, thread, whence visoμai, to wind thread. I find the Lat. penidium, and Ital. penidio, quoted in the Vocabolario Universale Italiano, and there is a capital explanation of the French pénide in Bouillet's Dictionnaire Universel des Sciences. Penidion is in fact nothing but barleysugar, and the name is derived from its shape, it being twisted like a rope. Diapenidion, in the passage quoted, simply means an expectorant; and hence even Bailey's Dictionary (very bad as it is) is not wrong in giving "Penidium, & medicine for all distempers of the lungs."

I believe that almost every other term occurring in the prologue and first seven passus of Piers the Plowman is explained in my small edition of that portion of the poem as published in the Clarendon Press Series. The explanations of words in the rest of the poem will be given in my complete Glossary to the whole poem, to be printed some years hence by the Early English Text Society. My great anxiety at this moment is to find more manuscripts of the third or latest text, as there surely must be more somewhere. My last appeal for help resulted in the finding of a really good MS., and I still hope to hear of more. There are probably some in private hands of which the world knows nothing; it seems a pity that the time for printing the third text should arrive before any news is heard of them. Up to the present moment I know of forty-three, but most of the latest-text ones are poor. WALTER W. SKEAT.

1, Cintra Terrace, Cambridge. Diapenidion was a well-known medicine in times past. Nicholas Culpeper tells his readers how it is to be compounded:

"Take of Penids two ounces, Pinenuts, Sweet Almonds blanched, White Poppy seeds, of each three drachms and a scruple (Cinnamon, Cloves, Ginger, which three being omitted, it is a diapenidion without spices), Juyce of Liquoris, Gum Tragacanth and Arabick, White Starch, the four greater cold seeds husked, of each a drachm and an half, Camphire seven grains. Make them into a Ponder It helps the vices of the Breast, coughs, colds, hoarseness and Consumptions of the Lungs, as also

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