[Liddesdale], they run sae muckle into clans." Lord Macaulay, in the thirteenth chapter of his 'History,' says :

"It would be difficult to name any eminent man in whom national feeling and clannish feeling were stronger than in Sir Walter Scott."

tion from Halliwell's 'Dictionary of Old Plays,' which I repeat here. Under 'Macbeth' we have:—

"A tragedy with all the alterations, amendments, additions, and new songs. Acted at the Duke's Theatre. 4to., 1674, 1687, 1695, 1710. This alteration was made by Sir William Davenant."

Keats, in his pretty poem entitled 'Robin Hood,' It will be seen that under this description both applies the term clan (not very appropriately in the quarto of 1674 and the quarto of 1695 are inthis case) to Robin Hood's band. Messrs. Butcher cluded, so that it was natural for me to conclude and Lang, in their fine prose version of the that the title given in the fifth volume of Davenant's 'Odyssey, translate_ciλaπivη_(xi. 415) "clan-Works' under the wrong date (1673) was the title drinking." I remember, when I lived in Cumber- of the edition 1674. I have not that volume at land, an old servant who married and settled in a hand for the purpose of reference, but, so far as my village in the neighbourhood of Carlisle, where she memory serves, the play as printed therein is unfelt like a stranger, complaining to me that the doubtedly the version known as Davenant's, and is villagers were clannish. JONATHAN BOUCHIER. said to be printed from the 1674 quarto. DR. NICHOLSON says that to collate the 1674 version JOHN FENNELL, of CAHIR (7th S. vii. 128, 212, with that of 1673 or with the folios "would be an 353).-Would M. H. kindly inform me in what absurdity." But that absurdity has been rendered part of Tipperary is Cappagh, the residence of Col. unnecessary by DR. NICHOLSON himself having Fennell, situated, the colonel's_Christian name, done precisely what I wanted to be done, namely, and the ancestry of the William Fennell, of Reag- to ascertain if the 1673 quarto was or was not the hill, whose daughter Mary married Joseph Jack-same mutilated, deformed, and defiled version of son, of Tincurry House, with whom my husband's the play that is given in Davenant's 'Works.' family were connected? It appears that it is not so, but, on the contrary, as I said before, it is virtually a reprint of the First tains "a goodly number of verbal alterations, and Folio, though, as DR. NICHOLSON tells us, it consome phrasal ones of two or three words eachVarations due, no doubt, sometimes to the printer, but sometimes to a would-be varier of mediocre power" (7th S. vii. 231). We may take it now for granted, especially after MR. JONAS's statement (7th S. vii. 145) that there can be little or nothing in common between the quartos of 1673 and 1674, except the cast of the play.

ELIZABETH S. PIGOTT.

'MACBETH,' 1673 (7th S. vii. 68, 130, 145, 231, 275, 315).—I am glad to see that on this subject we are to have the benefit of the luminous intellect and undeviating accuracy of DR. BRINSLEY NICHOLSON, and I am not without hopes that when he has condescended to recognize what are the real points at issue, we may be able, with his valuable help,

to arrive at some definite conclusion.

He says:

"It is simply an impossible explanation of the discrepant statements as to this quarto [of 1673, though I confess I know not the discrepant statements], that some copies of D'Avenant's 1674 quarto may have been printed

in 1673.'

The discrepant statements to which I referred were (1) the title-page of the 1673 quarto as given in the preface to Davenant's 'Macbeth' ('Works,' 1874), and (2) the statement to be inferred from Dr. Furness's remarks on that quarto (1673), and confirmed both by MR. MAURICE I. JONAS and by DR. NICHOLSON himself, that the said quarto is virtually a reprint of the text of the First Folio. No doubt two such irreconcilable descriptions of that edition would appear to most persons slightly discrepant; but, as DR. NICHOLSON points out, I have been misled by an erroneous quotation-I should say a very erroneous quotation-for I think in an edition such as that of Davenant's 'Works' one would scarcely venture to presume that the editor had made such a mistake as to give for the title-page of the 1673 quarto what DR. NICHOLSON declares is really the titlepage of the 1695 quarto.

What, may I ask, is the title-page of the 1674 quarto? In 7th S. vii. 130 I have given a quota

DR. NICHOLSON seems to have entirely overlooked the main point in dispute, viz., Did Pepys ever see Shakespeare's 'Macbeth'? and, as a corollary to this, Did Betterton ever play in Shakespeare's 'Macbeth'? These two points, but especially the former, I should very much like to see cleared up; and now that DR. NICHOLSON has descended into the arena, probably all incertitude thereon will soon vanish; but I must confess that until it has been proved by something more than mere assertion I shall find it very difficult to believe that any one not qualified for admission into an idiot asylum could ever have seen the wretched rubbish that Davenant called 'Macbeth' after having seen Shakespeare's play without taking any notice whatever of the alteration, and I do hope, for the sake of Betterton's memory, that after acting Shakespeare's 'Macbeth' he never stooped to represent Davenant's burlesque thereon. I may say, in conclusion, that it never occurred to me that any of those post-Restoration quartos could throw any real light upon the text of 'Macbeth' as given in the First Folio.

As to the question of the songs, if DR. NICHOL

SON will condescend to look at the notes to 'Mac-
beth' of the 'Henry Irving Shakespeare' (vol. v.
note 192, p. 420) he will find that in a note of
mine I have made considerable use, with full
acknowledgment, of his valuable note on this sub-
ject in his edition of Scot's 'Discoverie of Witch-
craft' (pp. 543-6). I regret very much that the
sudden death of Dr. Francis Hueffer prevented me
from further examining his copy of the song "Come
away, Hecket, Hecket," mentioned in my stage
history to 'Macbeth' (p. 349, col. 2). I have been
as yet unsuccessful in tracing this edition of the
song, which was from a MS. certainly previous to
Lock's setting. If we could discover the exact
date of that MS. it might help us to determine
the exact date when the songs were added to
'Macbeth.'
F. A. MARSHALL.

Folkestone.

"HARK THE HERALD ANGELS" (7th S. vii. 360).— The Editor is right; but cela va sans dire. Charles Wesley wrote the Christmas Hymn. The first line, as originally composed, was—

Hark! how all the welkin rings

Glory to the King of kings, which, in Dean Stanley's words, "are now, with great advantage, always altered to" the form in which the hymn is now sung.

Edward H. MARSHALL, M. A. "ARRANT SCOT" (7th S. vii. 45, 114, 335).-Is not the biting epitaph on Aretin given incorrectly? Instead of

Che d'ognun disse malo che di Dio

the line should run

Chi d'ognun disse mal, fuor che di Dio.
J. CARRICK MOORE.

Miscellaneous.

NOTES ON BOOKS, &o.

A Complete Concordance to the Poems and Songs of
Robert Burns. Compiled and edited by J. B. Reid,
M.A. (Glasgow, Kerr & Richardson.)
THE most zealous and loyal service that can be rendered
to a poet is to write a concordance. It is in a high degree
a work of interpretation, since, besides enabling a man to
find the passages he seeks, it secures, when moderate
pains are exercised, correct quotation. It is a tribute
also, seeing that when a work calls for a concordance
its position is conceded. So far, putting on one side the
'Concordance to the Vulgate' and that by Cruden to the
English Bible and the indices verborum to the classic
authors, and dealing only with English poets, adequate
concordances have been compiled for Shakspeare, Pope,
Cowper, and the Laureate as regards a portion of his
work. To Milton has been dedicated a very inadequate
concordance, though a full one, which we have not seen,
is said to be in existence. The Shelley Society, mean-
while, is preparing a 'Concordance to Shelley." Burns
has now a splendid concordance. On the other side of
the Tweed this tribute to his merits will meet with
nothing but approval. On this side the book is "con-
trived a double debt to pay," and is consequently
doubly welcome. Not only is it a concordance, it is

also a full and most valuable glossary, specially con-
venient of consultation. It constitutes a noble volume,

and, fragmentary as it is, can be read, as we have tested,
with pleasure. Almost innumerable are the cross-refer-
ences. To a Scotchman no difficulty whatever can be
experienced, nor, indeed, is much trouble imposed on an
Englishman thoroughly conversant with Burns. Some
simple orthographical knowledge is, however, desirable
stance, under "Day" and under "Cozie" we found :-
on the part of the half-educated Southron. For in-
Then canie in some cozie plea
They close the day.

Seeking, for the sake of verification, and also for ex-
planatory purposes, under "Canie," we failed to find
either the quotation or the word. Further search, how-
ever, revealed that "canie" was one of four different
word the quotation was duly found. We are glad to own
ways of spelling the familiar word" canny," under which
a debt of obligation to all concerned with the production
of this splendid volume. Burns has had some time to
wait for his concordance. When it comes, however, it is,
as is but fitting, the best of its sort. Wherever British
literature is found or consulted the book will be wel-
comed.

Sussex Archæological Collections, Vol. XXXVI, (Lewes,
H. Wolf.)

UNLESS our memory be at fault, the Sussex Archæo-
logical Society is the oldest body of the kind in the
south of England. Its first congress was held at
Pevensey forty-two years ago, and from that period to
the present no year has passed without a pleasant anti-
quarian gathering. The papers in many of the previous
volumes are of much interest. The present one is cer-
tainly in no way inferior to any of its predecessors.
Capt. F. W. T. Attree's paper on the parish of Wivelsfield
is a continuation of one in a former volume. It is re-
markably good, just, in fact, what a village history should
be. Mr. F. E. Sawyer is known beyond the limits of his
own county as a zealous antiquary. He is publishing in
these Collections, little by little, the proceedings of the
Committee of Plundered Ministers so far as they relate
to Sussex, with notes of a very useful kind. The same
gentleman contributes an interesting article on 'Sussex
Markets and Fairs.' We do not think he mentions all
for which charters have been granted. In the time of
Edward I. many fair and market charters were granted,
all of which will be found entered on the Patent Rolls.
We think, but dare not speak positively, that we have
come upon entries as to fairs and markets there which
he has left unnoticed. The Rev. R. F. Whistler gives an
account of the Penshurst Ironworks, which were not
discontinued until 1811. He has figured three of the
curious fire-backs for the manufacture of which Sussex
was once famous. They represent St. Michael and the
dragon, Phœbus driving the chariot of the sun, and Æneas
carrying his father from burning Troy. The Sussex
Archæological Society could not employ its funds better
than by publishing reproductions of all the ancient pic-
torial fire-backs that have come down to us. There was
a most interesting collection of them in the temporary
museum when the Archæological Institute met at Lewes
in 1883. One mediæval example, in which heraldic lions
were the principal subject, struck us as remarkably fine.
There was also a salamander in flames, dated 1550, which
might be reproduced for a similar purpose.}

Bryan's Dictionary of Painters and Engravers, New
Edition. By R. E. Graves and Walter Armstrong.
(Bell & Sons.)

THIS new and greatly improved and enlarged edition of
Bryan's useful dictionary, the progress of which we have

[Liddesdale], they run sae muckle into clans." Lord Macaulay, in the thirteenth chapter of his 'History,' says:

"It would be difficult to name any eminent man in whom national feeling and clannish feeling were stronger than in Sir Walter Scott."

tion from Halliwell's 'Dictionary of Old Plays,' which I repeat here. Under 'Macbeth' we have:

"A tragedy with all the alterations, amendments, additions, and new songs. Acted at the Duke's Theatre. 4to., 1674, 1687, 1695, 1710. This alteration was made by Sir William Davenant."

Keats, in his pretty poem entitled 'Robin Hood,' It will be seen that under this description both applies the term clan (not very appropriately in the quarto of 1674 and the quarto of 1695 are inthis case) to Robin Hood's band. Messrs. Butcher cluded, so that it was natural for me to conclude and Lang, in their fine prose version of the that the title given in the fifth volume of Davenant's 'Odyssey, translate ciλarim (xi. 415) "clan-Works' under the wrong date (1673) was the title drinking." I remember, when I lived in Cumberland, an old servant who married and settled in a village in the neighbourhood of Carlisle, where she felt like a stranger, complaining to me that the villagers were clannish. JONATHAN BOUCHIER.

of the edition 1674. I have not that volume at hand for the purpose of reference, but, so far as my memory serves, the play as printed therein is undoubtedly the version known as Davenant's, and is said to be printed from the 1674 quarto. DR. NICHOLSON says that to collate the 1674 version JOHN FENNELL, OF CAHIR (7th S. vii. 128, 212, with that of 1673 or with the folios "would be an 353).-Would M. H. kindly inform me in what absurdity." But that absurdity has been rendered part of Tipperary is Cappagh, the residence of Col. unnecessary by DR. NICHOLSON himself having Fennell, situated, the colonel's Christian name, done precisely what I wanted to be done, namely, and the ancestry of the William Fennell, of Reag- to ascertain if the 1673 quarto was or was not the hill, whose daughter Mary married Joseph Jack-same mutilated, deformed, and defiled version of son, of Tincurry House, with whom my husband's the play that is given in Davenant's 'Works.' family were connected? It appears that it is not so, but, on the contrary, ELIZABETH S. PIGOTT. as I said before, it is virtually a reprint of the First tains "a goodly number of verbal alterations, and Folio, though, as DR. NICHOLSON tells us, it consome phrasal ones of two or three words eachVarations due, no doubt, sometimes to the printer, but sometimes to a would-be varier of mediocre power" (7th S. vii. 231). We may take it now for 7th S. vii. 145) that there can be little or nothing granted, especially after MR. JONAS's statement in common between the quartos of 1673 and 1674, except the cast of the play.

'MACBETH,' 1673 (7th S. vii. 68, 130, 145, 231, 275, 315).—I am glad to see that on this subject we are to have the benefit of the luminous intellect and undeviating accuracy of DR. BRINSLEY NICHOLSON, and I am not without hopes that when he has condescended to recognize what are the real points at issue, we may be able, with his valuable help, to arrive at some definite conclusion. He says:

"It is simply an impossible explanation of the discrepant statements as to this quarto [of 1673, though I confess I know not the discrepant statements], that some copies of D'Avenant's 1674 quarto may have been printed

in 1673.'"

The discrepant statements to which I referred were (1) the title-page of the 1673 quarto as given in the preface to Davenant's 'Macbeth' ('Works,' 1874), and (2) the statement to be inferred from Dr. Furness's remarks on that quarto (1673), and confirmed both by MR. MAURICE I. JONAS and by DR. NICHOLSON himself, that the said quarto is virtually a reprint of the text of the First Folio. No doubt two such irreconcilable descriptions of that edition would appear to most persons slightly discrepant; but, as DR. NICHOLSON points out, I have been misled by an erroneous quotation-I should say a very erroneous quotation-for I think in an edition such as that of Davenant's 'Works' one would scarcely venture to presume that the editor had made such a mistake as to give for the title-page of the 1673 quarto what DR. NICHOLSON declares is really the titlepage of the 1695 quarto.

What, may I ask, is the title-page of the 1674 quarto? In 7th S. vii. 130 I have given a quota

DR. NICHOLSON seems to have entirely overlooked the main point in dispute, viz., Did Pepys ever see Shakespeare's 'Macbeth'? and, as 3 corollary to this, Did Betterton ever play in Shakespeare's 'Macbeth'? These two points, but especially the former, I should very much like to see cleared up; and now that DR. NICHOLSON has descended into the arena, probably all incertitude thereon will soon vanish; but I must confess that until it has been proved by something more than mere assertion I shall find it very difficult to believe that any one not qualified for admission into an idiot asylum could ever have seen the wretched rubbish that Davenant called 'Macbeth after having seen Shakespeare's play without taking any notice whatever of the alteration, and I do hope, for the sake of Betterton's memory, that after acting Shakespeare's 'Macbeth' he never stooped to represent Davenant's burlesque thereon. I may say, in conclusion, that it never occurred to me that any of those post-Restoration quartos could throw any real light upon the text of Macbeth' as given in the First Folio.

As to the question of the songs, if DR. NICHOL

SON will condescend to look at the notes to 'Mac-
beth' of the 'Henry Irving Shakespeare' (vol. v.
note 192, p. 420) he will find that in a note of
mine I have made considerable use, with full
acknowledgment, of his valuable note on this sub-
ject in his edition of Scot's Discoverie of Witch-
craft' (pp. 543-6). I regret very much that the
sudden death of Dr. Francis Hueffer prevented me
from further examining his copy of the
song "Come
away, Hecket, Hecket," mentioned in my stage
history to 'Macbeth' (p. 349, col. 2). I have been
as yet unsuccessful in tracing this edition of the
song, which was from a MS. certainly previous to
Lock's setting. If we could discover the exact
date of that MS. it might help us to determine
the exact date when the songs were added to
'Macbeth.'
F. A. MARSHALL.

also a full and most valuable glossary, specially convenient of consultation. It constitutes a noble volume, and. fragmentary as it is, can be read, as we have tested, with pleasure. Almost innumerable are the cross-references. To a Scotchman no difficulty whatever can be experienced, nor, indeed, is much trouble imposed on an Englishman thoroughly conversant with Burns. Some simple orthographical knowledge is, however, desirable stance, under "Day" and under "Cozie" on the part of the half-educated Southron. For inwe found :Then canie in some cozie plea They close the day. Seeking, for the sake of verification, and also for explanatory purposes, under Canie," we failed to find either the quotation or the word. Further search, however, revealed that "canie" was one of four different word the quotation was duly found. We are glad to own ways of spelling the familiar word "canny," under which a debt of obligation to all concerned with the production of this splendid volume. Burns has had some time to wait for his concordance. When it comes, however, it is, as is but fitting, the best of its sort. Wherever British "HARK THE HERALD ANGELS" (7th S. vii. 360).-literature is found or consulted the book will be welThe Editor is right; but cela va sans dire. Charles Wesley wrote the Christmas Hymn. The first line, as originally composed, was—

Folkestone.

Hark! how all the welkin rings
Glory to the King of kings,

which, in Dean Stanley's words, "are now, with
great advantage, always altered to" the form in
which the hymn is now sung.

EDWARD H. MARSHALL, M. A. "ARRANT SCOT" (7th S. vii. 45, 114, 335).-Is not the biting epitaph on Aretin given incorrectly? Instead of

Che d'ognun disse malo che di Dio

the line should run

Chi d'ognun disse mal, fuor che di Dio.
J. CARRICK MOORE.

Miscellaneous.

NOTES ON BOOKS, &o.

A Complete Concordance to the Poems and Songs of
Robert Burns. Compiled and edited by J. B. Reid,
M.A. (Glasgow, Kerr & Richardson.)
THE most zealous and loyal service that can be rendered
to a poet is to write a concordance. It is in a high degree
a work of interpretation, since, besides enabling a man to
find the passages he seeks, it secures, when moderate
pains are exercised, correct quotation. It is a tribute
also, seeing that when a work calls for a concordance
its position is conceded. So far, putting on one side the
Concordance to the Vulgate' and that by Cruden to the
English Bible and the indices verborum to the classic
authors, and dealing only with English poets, adequate
concordances have been compiled for Shakspeare, Pope,
Cowper, and the Laureate as regards a portion of his
work. To Milton has been dedicated a very inadequate
concordance, though a full one, which we have not seen,
is said to be in existence. The Shelley Society, mean-
while, is preparing a Concordance to Shelley." Burns
has now a splendid concordance. On the other side of
the Tweed this tribute to his merits will meet with
nothing but approval. On this side the book is "con-
trived a double debt to pay," and is consequently
doubly welcome, Not only is it a concordance, it is

comed.

Sussex Archæological Collections, Vol. XXXVI. (Lewes,

H. Wolf.)

UNLESS our memory be at fault, the Sussex Archæo-
logical Society is the oldest body of the kind in the
Its first congress was held at
south of England.
Pevensey forty-two years ago, and from that period to

the present no year has passed without a pleasant anti

quarian gathering. The papers in many of the previous volumes are of much interest. The present one is certainly in no way inferior to any of its predecessors. Capt. F. W. T. Attree's paper on the parish of Wivelsfield is a continuation of one in a former volume. It is remarkably good, just, in fact, what a village history should be. Mr. F. E. Sawyer is known beyond the limits of his own county as a zealous antiquary. He is publishing in these Collections, little by little, the proceedings of the Committee of Plundered Ministers so far as they relate to Sussex, with notes of a very useful kind. The same gentleman contributes an interesting article on 'Sussex Markets and Fairs.' We do not think he mentions all for which charters have been granted. In the time of Edward I. many fair and market charters were granted, all of which will be found entered on the Patent Rolls. We think, but dare not speak positively, that we have come upon entries as to fairs and markets there which he has left unnoticed. The Rev. R. F. Whistler gives an account of the Penshurst Ironworks, which were not discontinued until 1811. He has figured three of the curious fire-backs for the manufacture of which Sussex was once famous. They represent St. Michael and the dragon, Phoebus driving the chariot of the sun, and Æneas carrying his father from burning Troy. The Sussex Archæological Society could not employ its funds better than by publishing reproductions of all the ancient pictorial fire-backs that have come down to us. There was a most interesting collection of them in the temporary museum when the Archæological Institute met at Lewes in 1883. One medieval example, in which heraldic lions were the principal subject, struck us as remarkably fine. There was also a salamander in flames, dated 1550, which might be reproduced for a similar purpose.]

Bryan's Dictionary of Painters and Engravers. New
Edition. By R. E. Graves and Walter Armstrong.
(Bell & Sons.)

THIS new and greatly improved and enlarged edition of
Bryan's useful dictionary, the progress of which we have

The series of biographical sketches called 'Men of Mark 'twixt Tyne and Tweed' are excellent, and we have nothing but praise for the series of articles on 'The Streets of Newcastle.' The serious complaint we have C. T. T. ("Midland Railway Company Drivers ").— to make is as to the illustrations. Some few are pleasant We do not answer questions of this class. You give no to look upon, but the greater number are worthy of ex-post town or district, so we cannot return enclosure. treme reprobation. What pleasure can any one derive from the group of gravestones on p. 48, or the strange imagination called 'The Countess and her Henchman? If the string of beads which that lady wears is meant for a rosary-and it looks like one-we must inform the artist that prayer-beads were worn at the waist, not around the neck. We have far too great a respect for the memory of Joseph Ritson to desire to see him represented by the black smudge that does duty for his portrait. If no other likeness of that illustrious northern antiquary be known it would be better that his outer man should continue to be pictured in the imagination only.