10 s. XIL DEC. 11, 1909.] NOTES AND QUERIES.
463
SIGNS OF OLD LONDON.
(See 10 S. vi. 45, 424 ; vii. 445 ; viii. 288 ; ix. 228 ; xi. 102 ; xii. 203.)
AMONG the " Chetham Proclamations,' 2 &c., Nos. 1201-55 inclusive are stated in the 1851 catalogue, pp. 157-8, to consist of
" A curious series of London tradesmen ['s] engraved bills, before street signs were suppressed, most of them having woodcuts of the signs, viz. :
Hour-Glass, Jermyn Street.
Stow [sic], Poultry.
Three Sugar Loaves, Fetter Lane.
Buck and Breeches, Moorflelds.
Pot and Pine Apple, Berkley Square.
Sun, Sweetings Alley.
China Jar, New Bond Street.
Riseing Sun, Fenchurch Street.
Black Lyon, King St., Co vent Garden.
Golden Ball, Ludgate Hill.
Green Canister, corner of Newport Street, facing
Longacre. Wheatsheaf, Conduit St., corner of the pass leading
to Savile Row.
Hat and Feather, Coleman Street. Three Sugar Loaves, Hatton Garden. Golden Fleece, Cornhill. Feathers, Pall Mall. Old Adam and Eve, Newgate Street. Black Lion, corner of Norfolk Street, Strand. Black-Moor's Head and Three Sugar Loaves,
Hatton Garden. Cock, New Bond Street. Three Black Lions, Strand. Crown, York Street, Covent Garden. Wheatsheaf and Star, Ludgate Hill. Three Kings, within Ludgate. Green Parrot, Holborn. Three Sugar Loaves, St. Pauls. Lamb, Bedford Street, Covent Garden. Bible and Anchor, on the pavement in St. Martin's
Lane.
Golden Bottle, Aye Mary Lane. Three Angels, against the May Pole near Somerset
House, Strand.
Hand, Ring and Crown, Norris Street. Black Boy, Gracechurch Street. Golden Fame and Pine Apple, Berkeley Sq. Old Royal Point, Cornhill. King's Head, Holborn. Queen's Head, Ludgate Hill. Golden Bottle, Strand. Lemery's Head and Star, Haymarket. Young Civet Cat, Temple Bar. Sun, King Street, Covent Garden. Golden Griffin, next the Hospital Gate in West
Smithfield.
Wheatsheaf, Bedford Street. Black -moor's Head, Cheapside. Golden Door, Suffolk Street. Statue of Queen Elizabeth, Tavistock St., Covent
Garden.
Royall Poynt, Cornhill. &c."
The majority of the references are doubt- less of early eighteenth-century date.
WILLIAM MCMURRAY.
SHAKESPEARIANA.
' MUCH ADO ABOUT NOTHING, l V. i. 16 : And sorrow, wagge, crie hem, when he should grone,
Furness says :
" It is to me far preferable to consider this line as irredeemably corrupt than to accept any emendation, or any punctuation, that has been hitherto proposed. Dyce's authority is august, and Dyce is ' quite confident ' that ' sorrow wag ' is uncorrupted, but not even his authority, nor, indeed, any other, can ever persuade me that Shakespeare put such words, at this pas- sionate moment, into Leonato's mouth. There is a smack of comicality about ' wag ' which is ineffaceable ; it would hardly be worse had Leonato bid ' sorrow toddle '...."
Let us suppose that " And " is used like an, meaning if, in this case, as in others. " If sorrow ll should do what ? something that would cause a groan. The appropriate word nearest in sound to " wagge,' 1 or " agge " Cutting off the w which the hearing of the compositor carried over from the preceding word " sorrow ? ' is the verb ake n :
And sorrow ake, cry ' Hem ' when he should groan. Note that Leonato says in 1. 26 of this speech :
Charme ache with ayre, and agony with words, in which occurs the substantive form of the word which it is proposed to read instead of " wagge." E. MEBTON DEY.
' As You LIKE IT, ? I. iii. 1-9 :
Cel. Why, cousin ! why, Rosalind ! Cupid have mercy ! not a word ?
Ros. Not one to throw at a dog.
Cel. No, thy words are too precious to be cast away upon curs ; throw some of them at me ; come, lame me with reasons.
Ros. Then there were two cousins laid up ;. when the one should be lam'd with reasons and the other mad without any.
Relative to " mad " in the last line Furness remarks :
" Is this word quite above suspicion ? Is it not somewhat early for Rosalind to confess herself madly in love ? Or is it that she is mad thus to love without reason ? "
If " association of ideas n can ever be said to account for an expression, the principle certainly applies in the present case. By association, the idea of throwing something at a dog, with the possible result, influences Celia to use the word " lame n ; Rosalind takes up the term and matches it with " mad," a familiar idea in connexion with dogs, this in alluding to her own ailment unreasoning love at first sight.
E. MEBTON DEY.
