Folk-lore of Shakespeare. Dyer Thomas Firminger Thiselton

caravans to each other by letters written on silk, and tied under the wings of trained doves. In “Titus Andronicus” (iv. 3) Titus, on seeing a clown enter with two pigeons, says:

      “News, news from heaven! Marcus, the post is come.

      Sirrah, what tidings? have you any letters?”

      From the same play we also learn that it was customary to give a pair of pigeons as a present. The Clown says to Saturninus (iv. 4), “I have brought you a letter and a couple of pigeons here.”303

      In “Romeo and Juliet” (i. 3) the dove is used synonymously for pigeon, where the nurse is represented as

      “Sitting in the sun under the dove-house wall.”

      Mr. Darwin, in his “Variation of Animals and Plants under Domestication” (vol. i. pp. 204, 205), has shown that from the very earliest times pigeons have been kept in a domesticated state. He says: “The earliest record of pigeons in a domesticated condition occurs in the fifth Egyptian dynasty, about 3000 B.C.; but Mr. Birch, of the British Museum, informs me that the pigeon appears in a bill of fare in the previous dynasty. Domestic pigeons are mentioned in Genesis, Leviticus, and Isaiah. Pliny informs us that the Romans gave immense prices for pigeons; ‘nay, they are come to this pass that they can reckon up their pedigree and race.’ In India, about the year 1600, pigeons were much valued by Akbar Khan; 20,000 birds were carried about with the court.” In most countries, too, the breeding and taming of pigeons has been a favorite recreation. The constancy of the pigeon has been proverbial from time immemorial, allusions to which occur in “Winter’s Tale” (iv. 3), and in “As You Like It” (iii. 3).

       Quail. The quail was thought to be an amorous bird, and hence was metaphorically used to denote people of a loose character.304 In this sense it is generally understood in “Troilus and Cressida” (v. 1): “Here’s Agamemnon, an honest fellow enough, and one that loves quails.” Mr. Harting,305 however, thinks that the passage just quoted refers to the practice formerly prevalent of keeping quails, and making them fight like game-cocks. The context of the passage would seem to sanction the former meaning. Quail fighting306 is spoken of in “Antony and Cleopatra” (ii. 3), where Antony, speaking of the superiority of Cæsar’s fortunes to his own, says:

      “if we draw lots, he speeds;

      His cocks do win the battle still of mine,

      When it is all to nought; and his quails ever

      Beat mine, inhoop’d, at odds.”

      It appears that cocks as well as quails were sometimes made to fight within a broad hoop – hence the term inhoop’d– to keep them from quitting each other. Quail-fights were well known among the ancients, and especially at Athens.307 Julius Pollux relates that a circle was made, in which the birds were placed, and he whose quail was driven out of this circle lost the stake, which was sometimes money, and occasionally the quails themselves. Another practice was to produce one of these birds, which being first smitten with the middle finger, a feather was then plucked from its head. If the quail bore this operation without flinching, his master gained the stake, but lost it if he ran away. Some doubt exists as to whether quail-fighting prevailed in the time of Shakespeare. At the present day308 the Sumatrans practise these quail combats, and this pastime is common in some parts of Italy, and also in China. Mr. Douce has given a curious print, from an elegant Chinese miniature painting, which represents some ladies engaged at this amusement, where the quails are actually inhooped.