"... my entrails
Are clam'd with keeping a continual fast."
Massinger's Roman actor.
And we still use clammy, for sticking together. All the Northern languages have an equivalent term. The Germans have klemmen, to tie, and in the old Icelandic we find klæmman in the same sense. Ihre, Lexicon Suio-Goth. In Saxon clam, ligamen, clæmɩnᵹ, a stiffening. Somner Gloss. Littelton has to clamm, or hunger-starve, and Rider to clamme, to stop. The latter is indeed more to the present purpose than any or all of the others: because by supposing, what is extremely probable, an error of the press, all will be set right. On the other hand, clamour is the reverse of what is required. Thus in Macbeth, Act II. Scene 3, we have, "The obscure bird clamour'd the live-long night," and we are not to suppose that Shakspeare could have used the same word in senses so extremely opposite.
Scene 3. Page 148.
Re-enter servant, with twelve rusticks habited like satyrs. They dance, and then exeunt.
In the old collection of songs set by Thomas Ravenscroft and others, already quoted in p. [11], there is one called The satyres daunce. It is for four voices, and as follows:—
"Round a round, a rounda, keepe your ring
To the glorious sunne we sing;
Hoe, hoe!
He that weares the flaming rayes,
And the imperiall crowne of bayes,
Him, with him, with shoutes and songs we praise.
Hoe, hoe!
That in his bountee would vouchsafe to grace
The humble sylvanes and their shaggy race."
Scene 3. Page 154.
Shep. Some hangman must put on my shroud, and lay me
Where no priest shovels in dust.