statement of the
pseudo-Aristotle is remarkable. In his work "[Greek: peri thaumasion
akousmaton]," he mentions Lipara, one of the AEolian Islands, lying to the
north of Sicily, and nearly in the course of Shakspeare's Neapolitan fleet
from Tunis to Naples. Among the [Greek: polla teratode] found there, he
tells us:

"[Greek: Exakouesthai gar tumpanon kai kumbalon echon gelota te meta
thorubou kai krotalon enargos. legousi de ti teratodesteron gegonenai
peri to spelaion.]"

If we compare this with the aerial music heard by Ferdinand (_Tempest_, I.
2.), especially as the orchestra is represented by the genial burin of M.
Retsch in the fifth plate of his well-known sketches (_Umrisze_), it will
appear probable that Shakspeare was acquainted with the Greek writer either
in the original or through a translation. As far as I am aware, this has
not been observed by any of the commentators.--From _The Navorscher_.

J. M.

_Coincident Criticisms._--I shall be obliged if you will allow me through
your pages to anticipate and rebut two charges of plagiarism. When I wrote
my Note on a passage in _The Winter's Tale_ ("N. & Q.," Vol. vii., p.
378.), I had not seen the _Dublin University Magazine_ for March last,
containing some remarks on the same passage in some respects much
resembling mine. I must also declare that my Note on a passage in _All's
Well that ends Well_ ("N. & Q.," Vol. vii., p. 426.) was posted for you
some time before the appearance of A. E. B.'s Note on the same passage ("N.
& Q.," Vol. vii., p. 403.). The latter coincidence is more remarkable than
the former, as the integrity of the amended text was in both notes
discussed by means of the same parallel passage. _Apropos_ of A. E. B.'s
clever Note, permit me to say, that though at first it appeared to me
conclusive, I now incline to think that Shakspeare intended Helen to
address the _leaden messengers_ by means of a very hyperbolic figure:
"wound the still-piecing air that sings with piercing" is a consistent
whole. If, as A. E. B. rightly says, _to wound the air_ is an
impossibility, it is equally impossible that the air should utter any sound
expressive of sensibility. The fact of course is, that the cannon-balls
_cleave_ the air, and that by so cleaving it a shrill noise is produced.
The cause and effect may, however, be metaphorically described, by
comparing air to Bertram. I believe it is a known fact that every man who
is struck with a canno