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et Orchades, soutz la conduite d'Alexandre Lindsay, excellent Pilote Escossois,' says, like the Irish, a large full shirt, coloured with saffron, and over this a garment hanging to the knee, of thick wool, after the manner of a cassock (soutane). They go with bare heads, and allow their hair to grow very long, and they wear neither stockings nor shoes, except some who have buskins (botines) made in a very old fashion, which come as high as the knees." Lesley in 1578 says, "6 all, both nobles and common people, wore mantles of one sort (except that the nobles preferred those of different colours); these were long and flowing, but capable of being gathered up at pleasure into folds.. . . . They had also shaggy rugs, such as the Irish use at the present day. The rest of their garments consisted of a short woollen jacket, with the sleeves open below, for the convenience of throwing their darts, and a covering for the thighs of the simplest kind, more for decency than for show or defence against cold. They made also of linen very large shirts, with numerous folds and very large sleeves, which flowed abroad loosely on their knees. These the rich coloured with saffron, and others smeared with some grease to preserve them longer clean among the toils and exercises of a camp, &c."* Here we have the second variety-that of the short woollen jacket with the open sleeves; and this confirms most curiously the identity of the ancient Scottish with the ancient Irish dress, as the Irish chieftains who appeared at court in the reign of Elizabeth were clad in these long shirts, short open-sleeved jackets, and long shaggy mantles, the exact form of which may be seen in the woodcut representing them engraved in the History of British Costume,' p. 369, from a rare print of that period in the collection of the late Francis Douce, Esq. The third variety is the truis, or trowse, "the breeches and stockings of one piece," of the Irish in the time of Giraldus Cambrensis, and the bracchæ of the Belgic Gauls and Southern Britons in that of Cæsar. The truis has hitherto been traced in Scotland only as far back as the year 1538; and there are many who deny its having formed a portion of the more ancient Scottish dress: but independently that the document of the date above mentioned recognises it as an established "Highland' garment at that time, thereby giving one a right to infer its having long previously existed, the incontrovertible fact of a similar article of apparel having been worn by all the chiefs of the other tribes of the great Celtic or Gaëlic family is sufficient, in our minds, to give probability to the belief that it was also worn by those of the ancient Scotch Highlanders. Mr. Skene, after remarking that it was from the very earliest period the dress of the gentry of Ireland, adds that he is therefore inclined to think it was introduced from that country; but hints at no particular period, and leaves us at liberty to presume such introduction to have taken place even centuries prior to the birth of Macbeth. With regard to another hotly disputed point of Scottish costume, the colours of the chequered cloth, commonly called tartan and plaid (neither of which names, however, originally signified its variegated appearance, the former being merely the name of the woollen stuff of which it was made, and the latter that of the garment into which it was shaped), the most general belief is, that the distinction of the clans by a peculiar pattern is of comparatively a recent date: but those who deny a coat of many colours" to the ancient Scottish Highlanders altogether must as unceremoniously strip the Celtic Briton or Belgic Gaul of his tunic, "flowered with various colours in divisions," in which he has been specifically arrayed by Diodorus Siculus. The chequered cloth was termed in Celtic, breacan, and the Highlanders, we are informed by Mr. Logan,† give it also the poetical appellation of " cath-dath," signifying "the strife" or war of colours. In Major's time (1512) the plaids or cloaks of the higher classes alone were variegated. The common people appear to have worn them generally of a brown colour, "most near," says Moniepennie, "to the colour of the hadder" (heather). Martin, in 1716, speaking of the female attire in the Western Isles, says the ancient dress, which is yet worn by some of the vulgar, called arisad, is a white plaid, having a few small stripes of black, blue, and red. The plain black and white stuff, now generally known in London by the name of "Shepherd's plaid," is evidently, from its simplicity, of great antiquity, and could have been most easily manufactured, as it required no process of dyeing, being composed of the two natural colours of the fleece. Defoe, in his Memoirs of a Cavalier,' describes the plaid worn in 1639 as "striped across, red and yellow;" and the portrait of Lacy the actor, painted in Charles II.'s time, represents him dressed

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Jean de Beaugne, who accompanied the French auxiliaries to Scotland in 1548, in like manner describes "les sauvages," be calls the Highlanders, naked except their stained shirts (chemises taintes) and a certain light covering made of wool of +Histours, carrying large bows and similar swords and bucklers to the others, i. e. the Lowlanders.

of the Gael.' 2 vols. 8vo. London.

for Sawney the Scot in a red, yellow, and black truis and belted plaid, or, at any rate, in stuff of the natural yellowish tint of the wool, striped across with black and red.

For the armour and weapons of the Scotch of the 11th century we have rather more distinct authority. The sovereign and his Lowland chiefs appear early to have assumed the shirt of ringmail of the Saxon; or, perhaps, the quilted panzar of their Norwegian and Danish invaders: but that some of the Highland chieftains disdained such defence must be admitted from the well-known boast of the Earl of Strathearne, as late as 1138, at the Battle of the Standard ::- "I wear no armour," exclaimed the heroic Gaël, "yet those who do will not advance beyond me this day." It was indeed the old Celtic fashion for soldiers to divest themselves of almost every portion of covering on the eve of combat, and to rush into battle nearly, if not entirely, naked.

The ancient Scottish weapons were the bow, the spear, the claymore (cledheamh-more), the battle-axe, and the dirk, or bidag, with round targets, covered with bull's-hide, and studded with nails and bosses of brass or iron. For the dress and arms of the Anglo-Saxon auxiliaries of Malcolm the Bayeux tapestry furnishes perhaps the nearest authority.

The Scottish female habit seems to have consisted, like that of the Saxon, Norman, and Danish women-nay, we may even add the ancient British-of a long robe, girdled round the waist, and a full and flowing mantle, fastened on the breast by a large buckle or brooch of brass, silver, or gold, and set with common crystals, or precious gems, according to the rank of the wearer. Dio describes Boadicea as wearing a variegated robe; and the ancient mantle worn by Scotchwomen is described by Martin as chequered, and denominated the arisad.

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Enter three Witches.

1 Witch. When shall we three meet again In thunder, lightning, or in rain? a

2 Witch. When the hurlyburly'sb done, When the battle 's lost and won:

3 Witch. That will be ere the set of sun.c

"Some of the modern editions read" and in rain," to prevent that misconception of the question which they think may arise from the use of or. The Witches invariably meet under a disturbance of the elements; and this is clear enough without any change of the original text.

Hurlyburly. In Peacham's Garden of Eloquence,' 1577, this word is given as an example of that ornament of language which consists in "a name intimating the sound of that it signifieth, as hurlyburly, for an uproar and tumultuous stir." Todd finds the word in a collection of Scottish proverbs, and therefore decides upon the propriety of its use by the Scottish witch. This is unnecessary; for, although it might belong to both languages, Spenser had used it in our own; and it had the peculiar recommendation of the quality described by Peacham for its introduction in a lyrical composition.

• We have here the commencement of that system of tampering with the metre of Shakspere in this great tragedy, which almost every editor, from Pope downwards, has

1 Witch. Where the place? 2 Witch.

Upon the heath :

thought himself justified in venturing upon; and which one editor, Steevens, has fastened upon us even to this hour by the force of his own pertinacious ignorance.. When we see an edition of Shakspere bearing the name of Thomas Campbell as editor, and find that the text of that edition is a literal reprint from the text of Steevens, and that consequently the loppings-off and patchings-on, the transpositions, the substitutions, of a man without an ear are circulated with the imprimatur of one of the most elegant of our poets, we cannot but see what a fearful weed bad taste is,how prolific in its growth, how difficult to be eradicated. These remarks apply not so much to the particular instance before us as to the whole principle upon which the metre of this play has been regulated. We admit that it will not do servilely to follow the original in every instance where the commencement and close of a line are so arranged that it becomes prosaic; but on the other hand we contend that the desire to get rid of hemistichs, without regard to the nature of the dialogue, and so to alter the metrical arrangement of a series of lines, is a barbarism which ought to be corrected as speedily as possible. But when this barbarism is carried a degree farther, and the text is daubed over after the fashion of a sign-painter mending a Claude, we hold that the offence of re-publishing such abominations is a grave one, and that the reverence with which Englishmen regard their greatest poet ought to compel a different course for the future. With these remarks we proceed on our work of restoration. The line before us reads, in the original,

"

"That will be ere the set of sun.' Steevens strikes out the as harsh and unnecessary. Any one

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"There to meet with-Whom?-Macbeth." Malone has, however, here succeeded in retaining the original line, by persuading himself and others that there is a dissyllable.

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Graymalkin is a cat; Paddock, a toad.

b Doubtful. So the original. The common reading, doubtfully. "My addition," says Steevens, "consists but of a single letter."

Of is here used in the sense of with.

Quarry. So the original. The common reading, on the emendation of Johnson, is quarrel. We conceive that the original word is that used by Shakspere. In Coriolanus we have,

I'd make a quarry
With thousands of these quarter'd slaves, as high
As I could pick my lance."

It is in the same sense, we believe, that the soldier uses the word quarry: the "damned quarry" being the doomed army of kernes and gallowglasses, who, although fortune deceitfully smiled on them, fled before the sword of Macbeth, and became his quarry-his prey.

For brave Macbeth, (well he deserves that name,)
Disdaining fortune, with his brandish'd steel,
Which smok'd with bloody execution,

Like valour's minion, carv'd out his passage,
Till he fac'd the slave; a

Which ne'er shook hands, nor bade farewell to him,

Till he unseam'd him from the nave to the chaps,

And fix'd his head upon our battlements.

Dun. O, valiant cousin! worthy gentleman! Sold. As whence the sun 'gins his reflection Shipwracking storms and direful thunders [break ;] b

So from that spring, whence comfort seem'd to

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No sooner justice had, with valour arm'd, Compell'd these skipping kernes to trust their heels,

But the Norweyan lord, surveying vantage, With furbish'd arms, and new supplies of men, Began a fresh assault.

Dun. Dismay'd not this our captains, Macbeth and Banquo? c

Sold. Yes: As sparrows, eagles; or the hare, the lion.

If I say sooth, I must report they were
As cannons overcharg'd with double cracks;
So they doubly redoubled strokes upon the foe:
Except they meant to bathe in reeking wounds,
Or memorize another Golgotha,

I cannot tell :

But I am faint, my gashes cry for help.

Dun. So well thy words become thee as thy

wounds;

They smack of honour both :-Go, get him surgeons. [Exit Soldier, attended.

Who comes here? Mal.

Enter RossE.

The worthy thane of Rosse. Len. What a haste looks through his eyes!

a We follow the metrical arrangement of the original.

Steevens changes the hemistich thus :

"Like valour's minion,

Carv'd out his passage, till he fac'd the slave."

b The word break, which we insert in a parenthesis, is not in the original. The second folio adds breaking. Some verb is wanting; and the reading of the second folio is some sort of authority for the introduction of break.

This line is an Alexandrine-a verse constantly introduced by Shakspere for the production of variety; but which his editors hate, because they hate variety. They have therefore chopped the end off, and spliced it on to the next line, borrowing a syllable from the third; just as easily as a boy would cut and join three sticks into three yard-measures. We cannot undertake to notice every change of this sort, although we shall point out the more remarkable alterations.

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