Notes and Queries, Number 71, March 8, 1851 | Page 2

not so cruel-holy, Love is holy."
He had before said:
"----do not strive against my vows: I was compell'd to her; but I love
thee By Love's own sweet constraint:"
clearly indicating that this must be the true sense of the passage. By
printing when for whom, and Love with a capital letter, to indicate the
personification, all is made clear. {178}
After further argument from Bertram, Diana answers:
"I see that men make ropes in such a scarre That we'll forsake
ourselves."
This Rowe altered to "make hopes in such affairs," and Malone to
"make hopes in such a scene." Others, and among them Mr. Knight and
Mr. Collier, retain the old reading, and vainly endeavour to give it a
meaning, understanding the word scarre to signify a rock or cliff, with
which it has nothing to do in this passage. There can be no doubt that

"make ropes" is a misprint for "make hopes," which is evidently
required by the context, "that we'll forsake ourselves." It then only
remains to show what is meant by a scarre, which signifies here
anything that causes surprise or alarm; what we should now write a
scare. Shakspeare has used the same orthography, scarr'd, i.e. scared,
in Coriolanus and in Winter's Tale. There is also abundant evidence
that this was its old orthography, indicative of the broad sound the
word then had, and which it still retains in the north. Palsgrave has both
the noun and the verb in this form: "Scarre, to scar crowes,
espouventail." And again, "I scarre away or feare away, as a man doth
crowes or such like; je escarmouche." The French word might lead to
the conclusion that a scarre might be used for a skirmish. (See
Cotgrave in v. Escarmouche.) I once thought we should read "in such a
warre," i.e. conflict.
In Minshen's Guide to the Tongues, we have:
"To SCARRE, videtur confictum ex sono oves vel aliud quid
abigentium et terrorem illis incutientium. Gall. Ahurir ratione eadem:"
vi. to feare, to fright.
Objections have been made to the expression "make hopes;" but the
poet himself in King Henry VIII. has "more than I dare make faults,"
and repeats the phrase in one of his sonnets: surely there is nothing
more singular in it than in the common French idiom, "faire des
espérances."
S. W. SINGER.
* * * * *
GEORGE HERBERT AND THE CHURCH AT LEIGHTON
BROMSWOLD.
(Vol. iii., p. 85.)
I have great pleasure in laying before your readers the following
particulars, which I collected on a journey to Leighton Bromswold,

undertaken for the purpose of satisfying the Query of E. H. If they will
turn to A Priest to the Temple, ch. xiii., they will find the points to
which, with others, my attention was more especially directed.
Leighton Church consists of a western tower, nave, north and south
porches and transepts, and chancel. There are no aisles. As Prebendary
of the Prebend of Leighton Ecclesia in Lincoln Cathedral, George
Herbert was entitled to an estate in the parish, and it was no doubt a
portion of the increase of this property that he devoted to the repairing
and beautifying of the House of God, then "lying desolate," and unfit
for the celebration of divine service. Good Izaak Walton, writing
evidently upon hearsay information, and not of his own personal
knowledge, was in error if he supposed, as from his language he
appears to have done, that George Herbert almost rebuilt the church
from the foundation, and he must be held to be incorrect in describing
that part of it which stood as "so decayed, so little, and so useless."
There are portions remaining earlier than George Herbert's time, whose
work may be readily distinguished by at least four centuries; whilst at
one end the porches, and at the other the piscina, of Early English date,
the windows, which are of different styles, and the buttresses, afford
sufficient proofs that the existing walls are the original, and that in size
the church has remained unaltered for ages. As George Herbert new
roofed the sacred edifice throughout, we may infer this was the chief
structural repair necessary. He also erected the present tower, the font,
put four windows in the chancel, and reseated the parts then used by the
congregation.
Except a western organ gallery erected in 1840, two pews underneath it,
and one elsewhere, these parts, the nave and transepts, remain, in all
probability, exactly as George Herbert left them. The seats are all
uniform, of oak, and of the good old open fashion made in the style of
the seventeenth century. They are so arranged, both in the nave and in
the transepts, that no person in service time turns his back either upon
the altar or upon the minister. (See "NOTES