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Perhaps (fays Mr. Steevens) we should read auguries, i. e. prognoftications by means of omens. Thefe, together with the connection of effects with causes, being understood, have been inftrumental in divulging the most secret murders.' This undoubtedly is the general fenfe of the paffage. But we doubt whether Shalfpeare by relations meant the connection between caufe and effect, which our learned Editors fuppose: or that by the expreffion he fhewed fuch profound knowledge of antiquity,' as Dr. Warburton imagines he fees in it. Underflood relations may mean no more than accounts of things discovered by magot-pies, &c. and fo well underflood and interpreted as to be the means of bringing the moft fecret and difguised murderer to public infamy and punishment. To effect this fenfe, there must be a flight, but no unnatural tranfpofition of the words. ⚫ Auguries and relations by magot-pies, &c. understood, have brought forth the fecret'ft man of blood.'

The complaifance of our poet to King James hath been often noticed. In this tragedy the power of curing the King's Evil is fpoken of as hereditary in the house of Banquo, from whence that monarch traced his defcent. On the passage which immediately refers to this power, Mr. Steevens hath the following note: The ingenious Editor of the Household Book of the Fifth E. of Northumb. very acutely obferves, that the miraculous gift of curing the evil was left to be claimed by the Stuarts. Our ancient Plantagenets were humbly content to cure the cramp."

At the end of the first part of Henry IV. we have some curious obfervations, by Mr. Tollet, on the ancient Morris Dancers. Thefe obfervations are accompanied with a plate (of which they are in a great measure explanatory) representing an antient window at Mr. Tollet's houfe, in which the figures, attitudes, and dreffes, of the feveral dancers are delineated with great accuracy and elegance.

In a note on the celebrated exclamation of Richard, in the tragedy which goes by his name.

"A horfe! horfe! my kingdom for a horfe!". Dr. Farmer obferves, that Burbage, the alter Rofcius of Camden, was the original Richard, as we may learn from a paffage in the poems of Bp. Corbet, who introduces his hoft at Bosworth describing the battle:

"But when he would have faid King Richard died,
"And call'd a horfi! a horfe! he Burbage cried."

In the prologue to Henry VIII. there is a paffage which lays much ftrefs on the truth of the enfuing reprefentation. This circumftance hath led Mr. Tyrrwhitt to conjecture (and we think with great appearance of probability) that this play of Henry VIII. is the very play mentioned by Sir Henry Wotton

[in his letter of July 2, 1613. Reliq. Wotton. p. 425.] of a new play, acted by the King's players, at the Bank's Side, called All is True; reprefenting fome principal pieces of the reign of Henry VIII. The extraordinary circumstances of pomp and majefly, with which that play was fet forth, and the particular incident of certain cannons foot off at the King's entry to a mafque at the Cardinal Wolfey's house (by which the theatre was set on fire and burnt to the ground) are ftrictly applicable to the play before us. Mr. Chamberlaine, in Winwood's Memorials, vol. iii. p. 469, mentions the burning of the Globe, or Play-house, on the Bank Side, on St. Peter's-Day, 1613, which, fays he, fell out by a peale of chambers, that I know not on what occafion were to be used in the play. Ben Jonfon, in his Execration upon Vulcan, fays, they were two poor chambers. [See the stage direction in the play of Henry VIII. a little before the King's entrance, viz. "Drum and trumpet-chambers difcharged.] The Continuator of Stowe's Chronicle, relating the fame incident (p. 1003.) fays exprefsly, that it happened at the play of Henry VIII.

In a MS. letter of Thomas Lorkin to Sir Thomas Puckering, dated London, this laft of June 1613, this fame fact is thus related. "No longer fince, than yesterday, while Burbage his company were acting at the Globe the play of Henry VIII. and there fhooting of certain chambers in way of triumph, the fire catched, &c. &c. MS. Harl. 7002.'

[Mr. Steevens obferves, that they were called chambers, because they were mere chambers to lodge powder. It is the techni cal term for the cavity in ordnance which holds the combustibles.]

A paffage in Coriolanus that had hitherto much puzzled the critics, is at length decifively explained, by Mr. Steevens. "Why in this woolvish gown should I ftand here, &c." Dr. Johnson explains it thus- rough, hirfute gown.' Mr. Steevens, on confulting the old copy, was furprised to find, that it was woolvifh tongue.' He conjectures with good reafon, that tongue was mifprinted for toge-the Roman toga. For, as Mr. Malone remarks, the very fame mistake of the printer happened in Othello, where we met with tongued instead of "toged confuls." Befides, as he farther obferves, the old copy hath in and not with, which is a ftrong proof that the original word was not tongue.' But what shall we make of the epithet woolvib? Luckily Mr. Steevens hath hit on its precife meaning, in an old black letter book, entitled a "Merye Jeft of a man called Howleglas." The hero of this merry jeit binds himself to a taylor. He is fet to work about a garment, "Then faid the "maister, I ment that you should have made up the ruffet

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gown, for a husbandman's gown is here called a wolfe." By a woolvish toge or gown, Shakspeare might have meant

Coriolanus,

Coriolanus, to compare the drefs of a Roman candidate to the coarse frock of a ploughman, who exposed himself to folicit the votes of his fellow ruftics.'

In the fame play Menenius the friend of Coriolanus fays,
"Do not cry, havock, where you should but hunt
"With modeft warrant."

In this paffage, Mr. Tyrrwhitt obferves, that to cry havock, feems originally to have been a fporting phrafe from hafoc, which, in Saxon, fignifies a hawk. It was afterwards used in war. So in K. John,

LL

And in Julius Cæfar,

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Cry, havock, and let flip the dogs of war."

It feems to have been the fignal for general flaughter, and is exprefsly forbidden in the Ordinances des Batailles. 9 R. II. Art. 10. "Item, que nul foit fi hardy de crier havock, fur peine d'avoir la teft coupe."

-Cry, bavock, kings."

This expreffion, cry havock, reminds us of a fimilar passage in the concluding fcene of Hamlet.

"This quarry cries on havock

Sir Thomas Hanmer reads " cries out havock!" Dr. Johnson obferves, that to cry on was to exclaim against. I fuppofe (fays he) when unfair fportfmen deftroyed more quarry or game than was reafonable, the cenfure was to cry havock.' This interpretation muft undoubtedly be erroneous, if Mr. Tyrrwhitt's note, mentioned above, is allowed to have any weight. And, indeed, the obvious fenfe of every other paffage, where this expreffion is made ufe of, confutes Dr. Johnson's fuppofition. We are furprised, that fo accurate a critic as Mr. Steevens fhould have fuffered Dr. Johnson's note to pass uncor rected. From his filence a perfon might be ready to infer his approbation.

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The paffage ftrikes us in this light. When Fortinbras beholds the flaughter which had been made of fo many noble perfonages, the fcenes of a bloody hunt rush on his imagination. To laughtered game (called quarry, in old books of hunting and falconry) he compared the victims of that merciless hunter, death. Viewing them, he exclaims:

"This quarry cries, i. c. repeats, or cries in my ear, the bloody fignal by which they fell as hunted game to the hounds of death- "On! Havock!"

It may not be altogether unworthy of obfervation, that the terms commonly made ufe of in fome parts of England by the gentlemen of the field to encourage the dogs, feems to have been derived from this antient fignal of purfuit." Hoik! Havoik!"

We would, with pleasure, give further fpecimens of the excellence and value of this new edition of Shakspeare, but we have already, perhaps, extended this article too far.

ART.

ART. II. Archaeologia: or, Mifcellaneous Tracts relative to Antiquity, &c. Vol. V. Concluded. See Review for February.

TRE

HE Dune, or Tower of Dornadilla, is defcribed by the Rev. Mr. Pope, minifter of Reay. It is fituated in the parish of Duirnes, on Lord Reay's eftate. The height of its prefent ruins is 25 feet on one fide; on the other, it is only 9. The door, 3 feet fquare, fronts the north-eaft, as we are told is the cafe in all round buildings in the north. The walls are very thick, and within is an opening or paffage, divided into galleries, which run horizontally round about the building; each gallery is 5 feet high; the floor is laid with large flat ftones, which gird and bind the whole building compactly together. The common conjecture is, that thefe galleries were for fleeping-rooms, or barracks, in the hunting feafon. Befide thefe, there are other openings, full of fhelves, formed of large flat ftones, the use of which feems to have been to give light and fresh air to those who flept in the galleries, to hold their quivers or baggage, and perhaps, the lower fhelves were cup-boards, and prefles for their victuals. What conveniency they had at the bottom is not known, nine feet being filled with ftones. Three of the galleries are entire, and goats take fhelter in them in fnowy weather. The building was at firft much higher, and would make, it is faid, a grand figure in a forest. The mafonry, we are told, is extremely well done, but without either lime or clay. Some maintain, that this Dune of Dornadilla was a druidical temple; but that, Mr. Pope obferves, cannot be the cafe, as the Druids made no ufe of roofed, or covered buildings, and it appears, that this building was roofed like the round Pictish houfes; befide, he adds, in that age, there were no inhabitants in the fe parts to worship in any temple. It does not, however, appear improbable, but that this Dune may have been erected by the Danes, as there are two buildings, faid to be exactly the fame in other refpects, only of larger dimenfions, in Glenbeg, which are afcribed to that people. But Mr. Pope informs us, that there is a fragment of a very old poem ftill preferved, which mentions Dornadilla as the chieftain or prince, for whofe fake this building was erected. Concerning this Dornadilla, little more has reached the prefent day, than that he spent his time in hunting, and was the first who enacted foreft laws. Mr. Pope does not mention the age in which Dornadilla lived. The print confifts of the elevation of the tower, and a section of it.

Stone coffins have been frequently found in different parts. of England. Mr. Pegge, in a letter to Guftavus Brander, Efq; offers a few obfervations relative to fome lately difcovered at Chrift-Church, Twynham, The kift vaen of the Britons,

he

he apprehends, were of this kind, fome of which rude fepulchral receptacles, he fays, he has feen in Derbyshire. These at Chrift-Church are fomewhat more artificial than thofe of the ancient Britons, but as they are formed of ten or eleven pieces (a print of which is exhibited), and there does not appear to have been any stone underneath for the body interred to lie on, Mr. Pegge concludes, that they are very ancient, the production of a rude and barbarous age [perhaps the fourth century], and affording a strong proof that Twynham was very anciently settled.

Mr. King presents the Society with two fmall fragments of antiquity; the one a brick of a very fingular form, and ornamented with the representation of fome flower, which was found with feveral others, in clearing away the foundation of an old malting-house, in 1776, in Merfey Iland: its texture leads him to fuppofe, that it is not of fo high antiquity as the times of the Romans. The other fragment was dug up in the fame year, near Colchester, by a labourer, who, at the time, difcovered about thirty of the fame fort, but began immediately to dash them all to pieces, with a view, as he faid, " to fave himself the plague and trouble of answering the enquiries that would be made about them." It was merely by accident that three of them were preserved. This veffel (of which, and the other, is a little print) Mr. King fuppofes to be a kind of lachrymatory; made of course red earth. His article is but fhort, and he apologizes for defcanting on what may be thought trivial, by obferving, that many things which appear of little importance when feen feparately, have been found very useful means of illuftrating curious facts, when viewed with others collectively.

In the 23d article, written by Mr. Brooke, of the Herald's college, we have a defcription of the great feal of Catherine Parr, the fixth wife of Henry VIII. It is taken from an impreffion in the collection of Mr. Guftavus Brander. Henry, fays Mr. Brooke, was exceeding kind in granting arms to his wives, though he deprived them of their heads. This feal, the fculpture of which appears to have been very elegant, gives an opportunity for many obfervations on the family and connections of Catherine Parr; to which is added, a curious account of this great lady's funeral, taken from a book in the Cotton library, and never before made public.

The description of an ancient fortification near ChriftChurch, Hampshire, is written by Francis Grofe, Efq. It is accompanied with drawings of the entrenchment on Hengiftbury-head, and the camp on St. Catherine's-hill. Mr. Grofe apprehends, that these are the remains of Roman works. The name of Hengift seems to direct us to another origin; but that name may have been given after the times of the Romans, though the works were raifed by their fkill and industry.

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