In the passage I have quoted from Philemon Holland, there may be observed two peculiarities which are generally supposed to be exclusively Shakspearian: one is the beautiful application of the word "touch"—the other the phrase "discourse of reason." Where this last expression occurs in Hamlet, it narrowly escaped emendation at the hands of Gifford! (See Mr. Knight's note, in his illustrated edition of Shakspeare.) It is the true Aristotelian διάνοια.
There is also a third peculiarity of expression in the same quotation, in the use of the word delay in the sense of diluere, to dilute, temper, allay. There are at least two passages in Shakspeare's plays where the word is used in this sense, but which appear to have been overlooked by his glossarists. The first is in All's Well that Ends Well, Act IV. Sc. 3., where the French locals are moralising upon Bertram's profligate pursuit of Diana:
"Now God delay our rebellion—as we are ourselves, what are we?"
The second is in Cymbeline, Act V. Sc. 4., where Jupiter tempers his love with crosses, in order to make his gifts—
"The more delayed, delighted."
A. E. B.
Minor Notes.
Portrait of Luther.—A portrait of Luther, perhaps original, certainly nearly cotemporary with the Reformer, possessing many excellent qualities, was some time since shown me. It is in the possession of Mr. Horne, of Morton in Marsh, Gloucestershire: it was received by him from an elderly gentleman still living in London, who purchased it many years since at a sale of pictures. The picture is very dark, on canvass, with a black frame having a narrow gilt moulding. As the existence of this portrait is perhaps not known, mention of the fact might interest some of your readers. The picture, including frame, is perhaps in size thirty inches by twenty-four; and the age of the sitter, whose features are delineated with remarkable effects is probably under fifty years.
B. H. C.