And as this is a hue which frequently distinguishes the heads of youngsters, a large proportion of whom, at an early period of life, we know as white-headed urchins, and in England as well as in the United States even as tow-heads, we are very strongly inclined to believe the color and the term “Abraham” or “Abram” to be thus derived from association, and to be so applied to the boy Cupid; the word Abraham, in this connection, having come to express, to a certain extent, the tow, or the color of the tow, of hemp, or flax, or equally of the finer part which remains after the tow is combed out. So that, in all probability, the cant term “Abraham,” as thus applied in Shakespeare’s day, meant precisely the same as flaxen, with, perhaps, a slightly humorous allusion. And in this view of the case, we must put in a caveat to the allegation of Mr. White, that, if “Cupid is always represented by the old painters as auburn-haired,” then they have so depictured him without sufficient authority; indeed, in contradiction of the best authorities; for the classical evidence on this point will show his hair to be described as of that color which is usually known by the style of “flaxen”; since auburn is really a dun color, or “reddish brown,” whereas Cupid’s hair was flaxen, or, as we now say, blonde. For instance:

“The god of love was usually represented as a plump-cheeked boy, rosy and naked, with light hair floating on his shoulders.”[93]

“Eros is usually represented as a roguish boy, plump-cheeked and naked, with light hair floating on his shoulders.”[94]

We cannot but think, therefore, that this manifest distinction of hue effectually disposes of the theory that “abron” stands for any misspelling of auburn, as suggested by Mr. Dyce, and adopted by Mr. White.

It appears, by the bye, that this same agnus castus, or hemp-tree, which has given occasion for these remarks, was supposed from an early period to possess some peculiar virtues, which prompted its other appellation of “The Chaste Tree”; and to this circumstance was owing, doubtless, its introduction by the poets in their descriptions of various ceremonials. Thus, Chaucer has three several references to it in his “Floure and Leafe,” and very noticeably, as follows:

“Some of laurer, and some full pleasantly
Had chaplets of woodbind; and, sadly,
Some of agnus castus weren also
Chaplets fresh.”

So Dryden, also, modernizing this very passage of the older poet:

“Of laurel some, of woodbine many more,
And wreaths of agnus castus many bore.”

It ought to be suggested that the statement herein made as to the earlier practice of wearing wigs of flax and tow, in addition to some direct evidence to the point, is partly a matter of inference, and partly due to rather vague recollections of youthful studies (to which we have not thought it worth while to recur) among the romance writers of the last century. Their famous heroes undoubtedly were more or less familiar with “Abraham-men” and personages of that description; and it must be confessed that the impression of the “tow-wigs” worn, for purposes of disguise or with whatever object, by the highwaymen, sturdy beggars, and other worthies introduced into their novels, is amongst the strongest left on our mind by those lucubrations of their genius.

The inference which we have ventured upon is that, since wigs were articles of supposed necessity, and certainly have been used from early times; and since those manufactured of hair must have been much more costly in former days than at present, the probabilities are very strong that this important description of head-gear was made, more or less commonly, out of that material which still, we believe, affords the foundation of those ingenious works of art, the color and beauty of which furnished the poets with an ordinary and apt illustration of bright and flowing locks.