"BER. Who's there?

FRAN. Nay, answer me; stand, and unfold yourself." The striking and eminently dramatic opening of this great tragedy has been often praised; but never with more taste and congenial spirit than by Mrs. Radcliffe.

"In nothing," says this great artist of the terrific, "has Shakespeare been more successful, than in selecting circumstances of manners and appearance for his supernatural beings, which, though wild and remote, in the highest degree, from common apprehension, never shock the understanding by incompatibility with themselves; never compel us, for an instant, to recollect that he has a license for extravagance. Above every ideal being, is the Ghost of Hamlet, with all its attendant incidents of time and place. The dark watch upon the remote platform; the dreary aspect of the night; the very expression of the officer on guard, 'The air bites shrewdly; it is very cold;" the recollection of a star, an unknown world, are all circumstances which excite forlorn, melancholy, and solemn feelings, and dispose us to welcome, with trembling curiosity, the awful being that draws near; and to indulge in that strange mixture of horror, pity, and indignation, produced by the tale it reveals. Every minute circumstance of the scene between those watching on the platform, and of that between them and Horatio, preceding the entrance of the apparition, contributes to excite some feeling of dreariness, or melancholy, or solemnity, or expectation, in unison with, and leading on towards that high curiosity and thrilling awe with which we witness the conclusion of the scene. So, the first question of Bernardo and the words in reply, 'Stand, and unfold yourself.' But there is not a single circumstance in either dia

There is a lapse of memory in the writer. The words here quoted are used by Hamlet at the commencement of Scene 4. The occasion, however, is similar.

logue, not even in this short one with which the play opens, that does not take its secret effect upon the imagination. It ends with Bernardo desiring his brother officer, after having asked whether he has had quiet watch,' to hasten the guard if he should chance to meet them; and we immediately feel ourselves alone on this dreary ground.

"When Horatio enters, the challenge-the dignified answers, Friends to this ground,' And liegemen to the Dane'-the question of Horatio to Bernardo touching the apparition-the unfolding of the reason why 'Horatio has consented to watch with them the minutes of this night'-the sitting down together, while Bernardo relates the particulars of what they had seen for two nights-and, above all, the few lines with which he begins his story, 'Last night of all-and the distinguishing, by the situation of 'yon same star,' the very point of time when the spirit had appeared-the abruptness with which he breaks off, the bell then beating one'-the instant appearance of the Ghost, as though ratifying the story for the very truth itself: all these are circumstances which the deepest sensibility only could have suggested; and which, if you read them a thousand times, still continue to affect you almost as much as at first. I thrill with delightful awe, even while I recollect and mention them as instances of the exquisite art of the poet."

"Rivals of my watch."—Rivals, for associates, partners; as, in Antony and Cleopatra-" Cæsar denied him rivality."

"Approve our eyes."-That he may confirm the testimony of our eyes by his own; as, in Lear-"This approves her letter that she should soon be here."

"Just at this dead hour."-The quartos read "jump." It is the more ancient word for the same sense, and is so used elsewhere in this play. The folios substitute the more modern word.

"all these lands Which he stood seized of."

"Stood seized of,” i. e. Of which he was rightfully possessed. The folio reads "seized on," an erroneous correction of the quarto reading, made in ignorance that stood seized of" was the peculiar phrase of the law of England, and used with Shakespeare's accustomed precision in the use of technical common-law language.

“By the same cov'nant."-The quartos, and most modern editions, read "By the same co-mart," a word not found in any other author, but supposed, from its derivation, to mean, a mutual bargain or compact. It is, probably, an error of the press. The previous employment of a common-law phrase would suggest the word "covenant," as the folios read.

"Of unimproved valour."-Of unimpeached or unquestioned courage; as, in Florio's Dictionary-" Improbare, to improve, to impugn."

"Lawless resolutes."-The folio reads landless, which may be the true reading.

"That hath a stomach in it."-Any enterprise demanding courage, resolution.

"I think, it be no other, but e'en so."

This and the seventeen following lines are not in the folio, nor is any trace of them to be found in the earliest quarto. It has been probably conjectured that the poet suppressed this passage in representation, after he had written Julius Cæsar, where he had used similar im

agery.

"Palmy."-Victorious, triumphant; the palm being the emblem of victory.

"As, stars with trains of fire and dews of blood." There is evidently some corruption here, which it is, perhaps, impossible now to set right. It is thought that a line had been accidentally omitted. Collier suspects that "disasters" may be a misprint, the compositor having been misled by the words "as stars" in the preceding line.

"And then, they say, no spirit can walk abroad." The reading of the quartos, adopted by most modern editors, is

"No spirit dare stir abroad."

I have, with Mr. Knight, preferred the folio reading; he, upon his system of general deference to that authority; the present editor, because the word "walk" is more expressive and probable, as the ancient phrase pertinent to ghostly visitations.

"The cock, that is the trumpet to the morn." "Extravagant" is here used in its original and Latin sense, extra-vagans, straying beyond its bounds; so, too, erring, as errans, wandering.

"There can be no doubt that this fine description is founded upon some similar description in the Latin language. The peculiar sense of the words extravagant, erring, confine, points to such a source. The first hymn of Prudentius has some similarity; but Douce has also found in the Salisbury Collection of Hymns, printed by Pynson, a passage from a hymn attributed to Saint Ambrose, in which the images may be more distinctly traced :

'Preco diei jam sonat,
Noctis profunda pervigil;
Nocturna lux viantibus,
A nocte noctem segregans.
Hoe excitatus Lucifer,
Solvit polum caligine;
Hoc omnis errorum chorus
Viam nocendi deserit.

Gallo canente spes redit,' &c.

The above note, from Douce and Knight, is curious, and I think correct. Some future Dr. Farmer may, perhaps, show how Shakespeare became acquainted with

this passage, without being able to read the original; for the resemblance is too close to be accidental. But this, with many other passages, and especially his original Latinisms of phrase, give evidence enough of a certain degree of acquaintance with Latin; doubtless, not familiar nor scholar-like, but sufficient to give a colouring to his style, and to open to him many treasures of poetical thought and diction not accessible to the merely English reader. Such a degree of acquirement might well appear low to an accomplished Latinist, like Ben Jonson, and authorize him to say of his friend

"Though thou hadst small Latin and less Greek,”— Yet the very mention of his "small Latin" indicates that Ben knew that he had some.

"No fairy takes."-No fairy blasts, infects, injures. SCENE II.

"― more than the scope

Of these dilated articles allow."

i. e. The scope of these articles when dilated and explained in full. Stevens pronounces the obvious grammatical impropriety, "and all other such defects in our author," to be merely the error of illiterate transcribers or printers. It may be often so. But such errors are to be found in the best contemporary writers, and were a common license of that age. Similar inaccuracies have been remarked in the works of Fuller, one of the most learned as well as original writers of the following age. Mr. Knight observes that-"The use of the plural verb, with the nominative singular, a plural genitive intervening, can scarcely be detected as an error, even by those who consider the peculiar phraseology of the time of Elizabeth as a barbarism. It is only within the last half century that the construction of our language has acquired that precision which is now required. We find, in all the old dramatists, many such lines; as, this in Marlow:

"The outside of her garments were of lawn.' And too many such lines have been corrected by the editors of Shakespeare, who have thus obliterated the traces of our tongue's history."

"A little more than kin, and less than kind." Commentators give different explanations of these words, chiefly founded on the different meanings of the word "kind" when used as a substantive or an adjective. The expression was proverbial, and the use of it in several contemporary writers satisfies me that Hamlet means that he (Hamlet) is more than kin by his double relationship to the king, but less than kind, as bearing no kind feeling to him. Thus, in "Mother Bombie"-"The nearer in blood, the further from love; the greater the kindred, the less the kindness." And, in Rowley, (1609)—“I would he were not so near to us in kindred, then sure he would be nearer in kindness." "Vailed lids."-Lowered, cast down.

"Obsequious sorrow."—" Obsequious" is here derived from "obsequies" or funeral ceremonies. "To shed obsequious tears upon his trunk."-Titus Andron.

"The king's rouse."-A rouse was a deep draught to one's health, by which it was customary to empty the goblet or cup. It has the same primitive meaning as "carouse."

"He might not beteem the winds of heaven
Visit her face too roughly."

Beteem, for allow, or permit: this is the reading of all the old editions, except as varied by evident literal errors in the folios. The uncommonness of the word induced editors to change the phrase to "that he permitted not;" or to "might not let." These conjectures kept possession of the text until Stevens restored the old reading, and showed its meaning from the use in Golding's Ovid, (1587,) compared with the Latin. John

Kemble soon after familiarized the general ear to its

use.

He deserves well of his mother-tongue, who thus "Commands old words, that long have slept, to wake: Words that wise Bacon or brave Raleigh spake."

"a beast, that wants discourse of reason,

Would have mourned longer."

The modern reader generally interprets this as meaning the want of the power of rational speech. Such was not the sense in which our poet and his contemporaries used this expression. "Discourse of reason" was a phrase of the intellectual philosophy of that age, which had passed from the schools into the language of poetry and eloquence. According to old Glanville-" The act of the mind, which connects propositions and deduceth conclusions, the schools call discourse." It is the reasoning faculty, the power of pursuing a chain of argument, of deducing inferences. In this sense Milton makes the angel instruct Adam that the essence of the soul is"Reason,

Discursive or intuitive. Discourse

Is oftest yours, the latter most is ours;
Differing but in degree, of kind the same."

"Sir, my good friend, I'll change that name with you." John Kemble's manner of giving this line is the best explanation of its sense, which has been mistaken :—

"My good friend, I'll change that name with you”— as if he had said, "No, not my poor servant. We are friends; that is the style I will interchange with you." The following "Good even, Sir," Kemble addressed to Bernardo more distantly, after the cordial welcome to Horatio and Marcellus. The quartos print that salutation in a parenthesis, which agrees with this understanding as to the person addressed.

"Would I had met my dearest foe in heaven." Caldicott proves, (in opposition to Johnson and Horne Tooke,) that throughout Shakespeare, and all the writers of his age, the epithet dearest is applied to the person or thing, which, whether for us or against us, excites the liveliest interest. It answers to "veriest," "extremest." According to the context, therefore, it may mean the most beloved or most hated object.

"In the dead waste and middle of the night." The folios, and some of the quartos, read wast; the first and one other quarto, vast; either reading may stand as expressive of the same meaning: "the vacancy or void of night," the deserted emptiness and stillness of midnight; vast being taken in its primitive Latin sense for desolate, void; and waste, in the sense used by the translators of the Bible,-"They that made the waste,"—"the waste wilderness." To suppose that the poet meant waist, for middle, as several editors have maintained, and many printed the text, seems ludicrously absurd.

SCENE III.

"This scene must be regarded as one of Shakespeare's lyric movements in the play, and the skill with which it is interwoven with the dramatic parts is peculiarly an excellence of our poet. You experience the sensation of a pause without the sense of a stop. You will observe in Ophelia's short and general answer to the long speech of Laertes, the natural carelessness of innocence, which cannot think such a code of cautions and prudences necessary to its own preservation.”COLERIDGE.

"The sanctity and health of this whole state." The word sanctity is from the folios. The quartos read

"The safety and health of this whole state."

If this is followed, safety must be pronounced as a word of three syllables, as was often done by the poets of that age. I prefer the folio, as giving a better sense without tautology, and referring to the feeling of reverence towards the sovereign authority of the state.

"Recks not his own read."-" Cares not for his own admonitions to others." Read was used as a substantive in old English.

"Look thou character"--"See that you imprint, as in character."

"Are of a most select and generous chief in that." Thus the folio, and, with slight discrepancies, the old quartos. Chief, or cheff, is said to be taken for superiority, distinction. The phrase is harsh and unusual; and it is probable enough that the line was written"Are most select and generous, chief in that."

"Wronging it thus."-The folios read, “Roaming it thus," and the quartos, " Wrong it thus." Collier thinks the true reading may have been, "Running it thus.” Warburton printed "Wringing," and Coleridge suspected that "wronging" was used much in the same sense as wringing or wrenching.

"Like sanctified and pious bonds."-Commentators have found this so obscure, as to think the passage required conjectural correction. Yet the language and meaning are familiar to the poet. "These vows breathe like love's bonds new made;" they resemble the "contract and eternal bond of love," as he has elsewhere expressed it, while they are yet, (in his phrase,) “false bonds of love."

SCENE IV.

"Keeps wassel, and the swaggering up-spring reels.”

Wassel ordinarily meant holiday festivity, but was applied to any sort of bacchanalian revel. The "swaggering up-spring" means, according to Johnson, “the bloated upstart;" but as up-spring is the name of a German dance, in Chapman, the line may mean, that the king keeps his drunken revels, and staggers through some boisterous heavy dance.

"the dram of base

Doth all the noble substance often dout." Some corruption is evident in the old copies, which read, dram of eale, or ease, and of a doubt; Collier substitutes "dram of ill," which gives a consistent meaning: "ill" might be misprinted eale, and "often dout" of a doubt, the compositor having taken the passage by his ear only. To "dout" is to do out, to destroy or extinguish, and the word is still not out of use in the north of England. (See Holloway's "Provincial Dictionary.") But ease is a more natural error for base, and that reading has been preferred here; especially as it agrees with the poet's habit of opposing base to noble, as, in Coriolanus, "the base tongue," to "the noble heart."— "Baseness nobly undergone," Timon. The slightest baseness, he says, mars and disgraces the general noble character.

"And for my soul, what can it do to that,
Being a thing immortal as itself?"

The difference of emphasis with which this passage was pronounced by Garrick and by Kemble, affords us a fine example of the suggestive or associative effect of emphasis, though no direct change may be made in the Garrick said, rapidly

sense.

"And for my soul-what can it do to that,
Being a thing immortal as itself?"

This is the natural rapid reasoning of a brave man under the dread of supernatural visitation; and in any other character than Hamlet, would be the only proper enunciation. Kemble raised the passage to the dignity of philosophical argument, suited to the meditative Prince, by a double emphasis, necessarily compelling a more deliberate utterance

"And for my soul-what CAN it do to that,
Being a thing immortal, as itself?"

"I'll make a ghost of him that lets me."

Of him that hinders or obstructs me; a common sense of the word in the reign of Elizabeth, though now obsolete.

That rots itself in ease, on Lethe wharf."

Thus the folio. All the quartos read "roots itself in ease," which reading is preferred by Collier and other editors. There is good argument for either reading. I prefer the folio, "rots itself;" first, because, to my mind, roots itself" conveys a notion of some exertion of power; second, because "rots" is in more natural association with death, and the whole train of gloomy thoughts just expressed; and, thirdly, because a similar phrase is elsewhere applied by our poet to a waterweed

"Like a vagabond flag upon the stream,

Go to, and back; lackeying the varying tide

To rot itself with motion."-Antony and Cleopatra. "Eager droppings."-Eager, sharp, acid, sour; in its primary sense, from aigre.

“Unhousel'd, disappointed, unanel'd.”

"Unhousel'd," without having received the communion, (Saxon, husel, the eucharist;) "disappointed," un-appointed, not prepared; "unanel'd," without extreme unction, which was called "anoiling.”

"O, horrible! O, horrible! most horrible!" This line appears in the old copies as part of the Ghost's speech. Johnson says, "It was ingeniously hinted to me by a very learned lady, that this line seems to belong to Hamlet, in whose mouth it is a proper and natural exclamation, and who, according to the practice of the stage, may be supposed to interrupt so long a speech." Garrick so delivered it, and this, according to Knight, "as belonging to the Prince, according to the tradition of the stage." In the earliest edition of the tragedy, the Ghost's speech is here broken by Hamlet's interjection of "Oh, God!" On this authority, added to the strong internal evidence, I have ventured to deviate from the old copies. This has been done with less reluctance here, because errors of this nature, the assigning words or lines to the wrong person, are not uncommon in the old editions; and, in several instances, no editor has hesitated to correct them.

"My tables,-meet it is I set it down." Hamlet, after the intense and solemn horror of the supernatural visitation, gives way to a wild excitement; first, of bitter passion, and then of frantic gayety, which last is sustained afterwards by his strange appellation of the Ghost, as "old true-penny," "fellow in the cellarage," &c. This is certainly not common or obvious nature, yet it impresses me with its truth. It resembles the reckless merriment sometimes produced by the excitement of the battle-field-the startling gayety often seen upon the scaffold.

ACT II.-SCENE I.

"Fetch of warrant.”—A justifiable or warrantable trick. The quartos read "Fetch of wit," which may be right.

"Quoted him."-Noted or observed him.

SCENE II.

"My liege and Madam, to expostulate,

What majesty should be, what duty is," etc. To "expostulate," is used in its primitive sense, to inquire. Johnson has discussed the conflicting qualities in the character of Polonius, in one of his best notes. "Polonius," he remarks, "is a man bred in courts; exercised in business; stored with observation; confident in his knowledge; proud of his eloquence; and declining into dotage. His mode of oratory is designed to ridicule the practice of those times, of prefaces that made no introduction, and of method that embarrassed rather than explained. This part of his character is accidental, the rest natural. Such a man is positive and confident, because he knows that his

mind was once strong, and knows not that it is become weak. Such a man excels in general principles, but fails in particular application; he is knowing in retrospect, and ignorant in foresight. While he depends upon his memory, and can draw upon his depositories of knowledge, he utters weighty sentences, and gives useful counsel; but as the mind, in its enfeebled state, cannot be kept long busy and intent, the old man is subject to the dereliction of his faculties; he loses the order of his ideas, and entangles himself in his own thoughts, till he recovers the leading principle, and falls into his former train. The idea of dotage encroaching upon wisdom, will solve all the phenomena of the character of Polonius."

"Lord Hamlet is a prince, out of thy star."

Not within thy destiny; in allusion to the then common notion of starry influence on the destiny of life. Thus, all the old editions, until the second folio, 1632, where "star" was altered to "sphere," which has kept its place in most modern editions.

"You are a fishmonger."

"You are sent to fish out this secret. That is Hamlet's own meaning."-COLERIidge.

"Being a good kissing carrion."

Thus the passage stands in all the old editions. I understand Hamlet as saying, in "wild and whirling words," If even a dead dog can be kissed by the sun, ("common-kissing Titan," as the poet elsewhere styles him,) how much more is youthful beauty in danger of corruption, unless it seek the shade. But the editors have not been satisfied with any sense the passage can afford, as it was originally printed, and have generally followed Warburton's famous conjectural emendation, though few are satisfied with his explanation. He maintains that the author wrote " Being a god, kissing carrion," and his commentary is one of the most celebrated curiosities of Shakespearian literature. He finds in Hamlet's remark a great and sublime argument "as noble as could be drawn from the schools of divinity," vindicating the ways of "Providence in permitting evil to abound in the world;" which he thus sums up: "If the effect follows the thing operated upon, carrion, and not the thing operating, a God, why need we wonder that the supreme Cause of all things, diffusing blessings on man, who is a dead carrion, he, instead of a proper return, should breed corruption and vices ?"

"Ros. Truly; and I hold ambition of so airy and light a quality, that it is but a shadow's shadow.

"HAM. Then are our beggars, bodies; and our monarchs and outstretched heroes the beggars' shadows."

Meaning, according to Johnson, "If ambition is such an unsubstantial thing, then are our beggars (who at least can dream of greatness) the only things of substance; and monarchs and heroes, though appearing to fill such mighty space with their ambition, but the shadows of the beggars' dreams."

"This brave o'erhanging firmament."-The folio omits the word "firmament" which had appeared in the prior editions. If this be an intentional correction of the author, as has been suggested, then "o'erhanging" is to be taken substantively: "This brave o'erhanging, this magnificent roof," &c. The eloquence of the passage loses nothing by the condensation, and the transmutation of the participle into a substantive is very Shakespearian. "The thankings of a king;" "Strewings for graves," &c.

"We coted them on the way."-To cote, is to pass by alongside.

"Tickled in the sere.' ."-The "sere" is a dry affection of the throat by which the lungs are tickled; but the clown provokes laughter even in those who habitually cough."-KNIGHT.

"By the means of the late innovation."-This passage probably refers to the limiting of public theatrical performances to the two theatres, the Globe on Bankside, and the Fortune in Golden Lane, in 1600 and 1601. The players, by a "late innovation," were "inhibited," or forbidden, to act in or near "the city," and therefore "travelled," or strolled, into the country. COLLIER.

"An eyry of children, little eyases, that cry out on the top of question."-Shakespeare here alludes to the encouragement at that time given to some "eyry" or nest of children, or "eyases" (young hawks) who spoke in a high tone of voice. There were several companies of young performers about this date engaged in acting, but chiefly the children of Paul's, and the children of the Revels, who, it seems, were highly applauded, to the injury of the companies of adult performers. From an early date, the choir-boys of St. Paul's, Westminster, Windsor, and the Chapel-Royal, had been occasionally so employed, and performed at court.-COLLIER.

"Hercules and his globe too."-The allusion seems to be to the Globe playhouse; the sign of which was, says Stevens, Hercules carrying the Globe.

"I know a hawk from a handsaw."-The original form of the proverb was, "To know a hawk from a hernshaw;" i. e. to know a hawk from the heron it pursues. The corruption was prevalent in the time of Shakespeare.

"For the law of writ, and the liberty."-The players were good, whether at written productions or at extemporal plays, where liberty was allowed to the performers to invent the dialogue, in imitation of the Italian comedia al improviso.-COLLIER.

"O Jephthah, judge of Israel, what a treasure hadst thou!"

In Percy's "RELIQUES," there is an imperfect copy of the old ballad to which Hamlet here refers. It has been since entirely recovered, and is printed entire in Evans's "COLLECTIONS OF OLD BALLADS," (1810.) The first stanza comprises the various quotations in the text:

"I have heard that many years ago,
When Jephtha, judge of Israel,
Had one fair daughter, and no more:
Whom he loved passing well.

As by lot, God wot,

It came to passe most like as it was,

Great warrs there should be,

And who should be the chiefe, but he, but he."

"Thy face is valanced."-Fringed with a beard; a better sense than the folio reading of "valiant."

It is often mentioned in the writers of Shakespeare's age. Ben Jonson, T. Heywood, Dekker, and other dramatists, speak of it in the same way; and in Marston's "Dutch Courtesan," 1605, one of the characters asks, "Dost thou not wear high corked shoes-chopines ?"— COLLIER.

""Twas CAVIARE to the general."-This word is generally written caviare; but it is caviarie in the folio, following the Italian caviaro. Florio, in his "New World of Words," has, "Caviaro, a kind of salt black meat made of roes of fishes, much used in Italy." In Sir John Harrington's 33d epigram, we find the word forming four syllables, and accented, as written by Shakespeare

"And caveare, but it little boots."

This preparation of the roes of sturgeons was formerly much used in England among the refined classes. It was imported from Russia.-KNIGHT.

"To the general," to the many. In modern phrase, a dish too recherché to please the popular taste.

"No sallets in the lines."-Sallets is given in contemporary books as answering to the Latin sales, jests, pleasantries.

"The rugged Pyrrhus,-he, whose sable arms."

Schlegel is acute and right in his remark, that "this speech must not be judged by itself, but in connection with the place where it is introduced. To distinguish it as dramatic poetry in the play itself, it was necessary that it should rise above the dignified poetry of that in the same proportion that the theatrical elevation does above simple nature. Hence Shakespeare has composed the play in Hamlet altogether in sententious rhymes, full of antithesis. But this solemn and measured tone did not suit a speech in which violent emotion ought to prevail; and the poet had no other expedient than the one of which he made use, overcharging the pathos."

This criticism is confirmed by the comparison of the original Hamlet with the revised play, showing the deliberate rejection of flowing and elegant lines, and the substitution of others of a more buskined elevation, so as to mark the distinction between the interlude and the drama itself. Thus, the Duke (or Player King) began

"Full forty years are past, their date is gone, Since happy time joined both our hearts as one; And now the blood that fill'd my youthful veins, Runs weakly in their pipes; and all the strains Of music which whilome pleased mine ear, Is now a burthen that age cannot bear." This the poet rejected, and substituted the lines beginning

"Full thirty times has Phoebus' cart gone round," inferior in themselves, but contrasting better with the other dialogue.

"Total gules."-Entirely red, an heraldic term. "Mobled queen."-Hastily and carelessly muffled up; her "bisson rheum" means, blinding tears.

"All his visage wann'd"-or became wan, a very Shakesperian expression in the quartos, and much superior to warm'd, which is the tame reading of the folio. It is, besides, a genuine old English poetical phrase. Stonyheart, in his hexameter version of the Æneid, renders Virgil's "Pallida, morte futurâ," by "Her visage waning with murther approaching."

"Appal the free,"-those free from guilt.

"John d-dreams"-"A nickname for a sleepy, apathetic fellow. The only mention yet met with of John a-dreams, is in Armin's Nest of Ninnies,' 1608, where the following passage occurs: His name is John, indeed, says the cinnick; but neither John a-nods, nor John a-dreams, yet either, as you take it.' John adroynes, mentioned by Whetstone and Nash, was, in all probability, a different person."-COLLIER.