12 S. V. AUG., 1919.]
NOTES AND QUERIES.
203
ralstaff more probably said came on (all)
ogether. Came in yet others, though further
rom the original text, deserves con-
ideration.
In the same scene occur the two mis- rints " pitiful -hearted Titan," and elf skin, orrected by Theobald and Hanmer to ' pitiful -hearted butter " and eelskin. They re both adopted in Dyce's edition ; I did iot know this when I put forward Theo- >ald's suggestion at 10 S. vi. 504. Nat. Weld's * Woman is a Weathercock,' I. ii., nd Fletcher's 'Women Pleased,' III. ii., ustify Hanmer.
' Tempest,' V. i., Ariel's song : On the bat's back I do -fly After summer, merrily.
something is wrong ; Theobald proposed fter sunset, which has been generally fol- 3wed. The Davenant - Dryden version
- ives
On the swallow' 's wing I fly
After summer, merrily.
"his version has been overlooked ; and ven in the ' Variorum Shakespeare ' it [oes not appear.
Trembling for the consequences, I send a uggestion for the text of the entire song ; a sheer timidity I have long kept it un- written, but have finally screwed my ourage to the sticking-place, and here
- is
Where the bee sucks, there (suck) I ; Ic a cowslip's bell I lie ; On the bat's back I do fly, There I couch when owls dp cry. On the swallow's wing I hie, After summer, merrily.
"he two^ versions are thus united ; and the ourth line of the original put before the bird. Otherwise the only addition is hie. n the first line, neither suck, as in the Folio, or the popular emendation lurk, is quite on vine ing..
' Macbeth,' I. i. How many readers have ny conception of the exact meaning of the oncluding lines ? The couplet
Faire Is foule, and foule is faire,
Hover through the fogge and filthie ayre, onveys no distinct idea ; and equally bscure are Macbeth' s first words in I. iii. :
So foule and faire a day I have not seene. >avenant's arrangement has :
For us fair iceather's foul, and. foul is fair ;
Hover through the foggy filthy air.
'he witches have " wound up " a charm afore Macbeth and Banquo enter. It ppears to me that in both scenes Shake - Dear directed that the witches should
raise a sudden darkness, an effect required
in several contemporary dramas.
' Romeo and Juliet,' III. ii. :
Spread thy close curtain, love-performing night I That runnaweyes eyes may wincke ; and Romeo Leap to these arms, untalkt of, and unseen !
The emendations sunne-a-weary and un- awares, proposed for this famous difficulty, have not been accepted : one is too com- plicated, one too trivial. Here again a Restoration arrangement gives some help. Otway, in ' Caius Marius ' (1680), uses the speech ; he substitutes "jealous eyes," making at least good sense of the line. I hardly think jealous is the right word, and perhaps Shakespeare wrote two words ; but I prefer jealous to any emendation found so far.
Davenant' s and the other Restoration acting versions of Shakespeare are com- monly decried, and with full justice, for their needless alterations and objectionable additions ; but let it not be forgotten that Davenant knew Shakespeare, and that the leading tragedian of his company was Charles Hart, grandson of Shakespeare's sister Joan ; and further, that both Davenant and Hart had been connected with the stage even before the Civil War. On textual questions the Restoration arrangements claim examination. The operatic perver- sion of ' Measure for Measure,' for which Oldmixon wrote a prologue in 1700, alters Isabella's speech wildly enough ; but it suggested to me the explanation I have given above. H. DAVEY.
MARSHAL FOCH'S PATRONYMIC. Some
time ago it was stated that the late Com-
mander-in-Chief of the Allied Army, like
the famous American admiral of the Civil
War, David Glasgow Farragut, was of
Spanish extraction ; though in neither case
would the name be thought to betray an
Iberian origin.
Prof. Weekley in his ' Surnames ' (pp. 46 282) connects the French general's name with Fulke, Foulkes, Vokes, Fogg, Fochier, and Fouche, through the Latin Fulcher ; \vhich I take to be a false attribution. On the' other hand in Larchey's ' Dictionnaire des Noms,' the personal names, Focke and Focas, are associated with that of Phocas, a martyr of the fourth century, who was subsequently canonised.
The true derivation of this now all- important surname is, I think, best indicated by M. Raymond Recouly in his newly- published monograph on the career of the
