Mythology

101 This sounds like a purely private opinion, and may be dismissed without further argument. There is a good deal to be said for the growing of yews to make bows. Sir Henry Ellis remarks that Shakespeare in Richard II. speaks of the double fatal yew because the leaves of the yew are poison, and the wood is employed for instruments of death. On this Stevens observes, that from some of the ancient statutes it appears that every Englishman, while archery was practised, was obliged to keep in his house either a bow of yew or some other wood. It should seem, therefore, that yews were not only planted in churchyards to defend the churches from the wind, but on account of their use in making bows; while by the benefit of being secured in inclosed places, their poisonous quality was kept from doing mischief to cattle. The difficulty of this otherwise reasonable conjecture is seen in the question: Are not all plantation grounds fenced from cattle? And why are there no more than two yew trees in each churchyard if bow wood was so necessary? Sir Thomas Browne, in his Hydriotaphia Urne-buriall, tell us, that among the ancients, the funerall pyre consisted of sweet fuell, cypresse, firre, larix, YEWE, and trees perpetually verdant. And he asks, or rather observes, Whether the planting of yewe in churchyards holds its original from ancient funerall rites, or as an embleme of resurrection from its perpetual verdure, may also admit conjecture. Yes, it admits of conjecture, and in all likelihood man s choice of the yew for funeral associations was determined by its appearance, its longevity, its utility in supplying material for weapons, and its need of segregation on account of its poisonous qualities; in fact, nearly all the suggested facts seem to have played some part in establishing the yew tree where we mostly find it. (9) THEATRE SUPERSTITIONS. It is curious that Brand should not have noticed the superstitions of actors and actresses, for they are as essentially a modern growth as those he has dealt with so fully were of ancient origin; moreover, to compare the two together is to see striking points of difference and analogy. The difference is that the superstitions of the theatre are all of them based on a firm belief in the principle of Luck; they are secular from beginning to end, and without a spark of religious association. The analogy lies in the fact that, like many of the old suptrstitions, they are groundless for the most part, being no more than ipse dixits of leading artists, supposed to be borne out by the experience of the rank and file. To whistle in a theatre is a sign of the worst luck in the world, and there is no offence for which the manager will scold an employee more quickly. Vaudeville performers believe it is bad luck to change the costumes in which they first achieved success. Old actors believe the witches song in Macbeth to possess the uncanny power of casting evil spells, and the majority of them strongly dislike to play in the piece. Hum the tune in the hearing of an old actor and the chances are you will lose his friendship. Actors will not repeat the last lines of a play at rehearsals, nor will they go on the stage where there is a picture of an ostrich if they can avoid it. Let them try the handle of a wrong door when seeking the manager of a theatre, or the office of an agent, and they regard it as an omen of failure. The looping of a drop curtain, the upsetting of a make-up box, are the certain forerunners of evil, just as certain shades of yellow in a tie, or vest, or hat, are thought to exert an injurious influence. Even the orchestra

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