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241. All fire and air. Henry V., III. 7, he is pure air and fire,' and Antony and Cleopatra, v. 2, 'I am fire and air.'

Like the female dove. Hamlet, v. 1, As patient as the female dove, when that her golden couplets are disclosed.'

The trial scene and the two following quotations, The White Devil. Act ш. 1. 243. Your hand I'll kiss. Act II. 1.

The lamentation of Cornelia. Act v. 2.

The parting scene of Brachiano. Act v. 3.

245. The scenes of the madhouse. Act iv. 2.

The interview. Act iv. I.

I prythee, and the three following quotations and note on p. 246. The Duchess of Malfy, Act IV. 2.

246. The Revenger's Tragedy.

1607.

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The dazzling fence. Cf. the dazzling fence' of rhetoric, Comus, 790-91.

The appeals of Castiza. Act II. 1., and Act Iv. 4.

247. Mrs. Siddons has left the stage. Mrs. Siddons left the stage in June 1819. See The Round Table, vol. 1., Note to p. 156.

On Salisbury-plain. At Winterslow Hut. See Memoirs of W. Hazlitt. 1867,

vol. 1. p. 259.

Stern good-night. Macbeth, Act 11. 2. 'The fatal bellman which gives the stern'st good night.'

Take mine ease. 1 Henry IV. 111. 3.

Cibber's manager's coat. Colley Cibber (1671-1757), actor, dramatist, and
manager. See the Apology for his Life (1740).

Books, dreams. Personal Talk. [Dreams, books, are each a world
shall be named pre-eminently dear . . . by heavenly lays '']

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IV. ON BEAUMONT AND FLETCHER, ETC.

249. Misuse [praise] the bounteous Pan. Comus, 176-7. Like eagles newly baited. Cf.

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All plumed like estridges that with the wind
Baited like eagles having lately bathed.'

250. Cast the diseases of the mind. Cf.

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1 King Henry IV., Iv. 1.

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cast

'Canst thou not minister to a mind diseased
The water of my land, find her disease,
And purge it to a sound and pristine health?'

Wonder-wounded. Hamlet, v. 1.

Macbeth, v. 3.

Wanton poets. Cf. Marlowe's Edward II., Act 1. 1., and Beaumont and

Fletcher's The Maid's Tragedy, 11. 2.

251. The Maid's Tragedy. Acted 1609-10, printed 1619.

252. Do not mock me. Act IV. I.

King and No King. Licensed 1611, printed 1619.
When he meets with Panthea.

Act II. 1.

253. The False One. 1619.

Youth that opens. Act III. 2.

Like ['I should imagine'] some celestial sweetness.

Act 11. 3.

'Tis here, and the next quotation. Act 11. 1. [Egyptians, dare ye think.']

254. The Faithful Shepherdess. Acted 1610.

A perpetual feast. Comus, 479-80.

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254. He takes most ease. The Faithful Shepherdess, Act v. 3.

Her virgin fancies wild.

Paradise Lost, v. 296-7.

Here he woods. The Faithful Shepherdess, Act 1. 3.

255. For her dear sake. Act v. 3.

Brightest. Act IV. 2.

If you yield. Act 11. 2.

256. And all my fears. Act 1. 1.

Sad Shepherd. 1637.

257. Tumbled him [He tumbled] down, and the two following quotations. The Two

Noble Kinsmen, Act 1. 1.

We have been soldiers. Act 1. 3.

258. Tearing our pleasures. To his Coy Mistress, 43 and 44.

How do you. The Two Noble Kinsmen, Act 11. 2. [lastly, children of grief and ignorance.']

261. Sing their bondage. Cymbeline, 111. 3.

The Bloody Brother, 1624; A Wife for a Month, 1623; Bonduca, acted c. 1619; Thierry and Theodoret, 1621; The Night Walker, 1625; The Little French Lawyer, c. 1618; Monsieur Thomas, c. 1619; The Chances, c. 1620 ; The Wild Goose Chase, acted 1621; Rule a Wife and Have a Wife, 1624. 262. Philaster. Acted c. 1608.

Sitting in my window. Act v. 5.

Into a lower world.

His plays were works.

Paradise Lost, XI. 283-5.

Suckling's The Session of the Poets, ver. 5.

Note, Euphrasia. Philaster, Act v. 2.

263. Miraturque. Virgil, Georgics, 11. 82.
The New Inn. Acted 1630.

The Fall of Sejanus. Acted 1603.
Two of Sejanus' bloodhounds.

To be a spy. Act Iv. 3.

264. What are thy arts. Act iv. 5.

Act III. I.

If this man. Act 1. 2 [blood and tyranny.']

265. The conversations between Livia.

Catiline's Conspiracy. Acted 1611.

Act II. 1.

David's canvas. Jacques Louis David (1748-1825), historical painter.
The description of Echo. Act 1. 1. Cynthia's Revels was acted in 1600 and

printed the year after.

The fine comparison ..

the New Inn. Cf. Act II. 2.

Massinger and Ford. Philip Massinger (1583-1640) and John Ford (1586? 1656).

Musical as is Apollo's lute. Comus, 478.

266. Reason panders will. Hamlet, 111. 4.

The true pathos. Burns, Epistle to Dr. Blacklock.

The Unnatural Combat, 1639; The Picture, licensed 1629; The Duke of Milan, 1623; A New Way to Pay Old Debts, 1633; The Bondman, 1624; The Virgin Martyr, 1622.

267. Felt a stain like a wound. Burke, Reflections on the French Revolution, ed.

Payne, 11. 89.

Note. See A View of the English Stage, and notes thereto. 268. Rowe's Fair Penitent.

Fatal Dowry. 1632.

1703. Nicholas Rowe (1673-1718).

'Tis Pity She's a Whore. 1633.

269. Annabella and her husband.

The Broken Heart. 1633.

Act IV. 3.

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274. Armida's enchanted jalace. The sorceress who seduces the Crusaders. Tasso's Jerusalem Delivered.

Fairy elves. Paradise Lost, 1. 781 et seq.

'Like that Pygmean race

Beyond the Indian mount; or faery elves.'

Deaf the praised ear. Pope's Elegy to the Memory of an Unfortunate Lady.

V. ON SINGLE PLAYS, POEMS, ETC.

The Four P's. ?1530-3.

John Heywood. (c. 1497-c. 1575). He was responsible for various collections of Epigrams, containing six hundred proverbs.

276. False knaves. Much Ado About Nothing, IV. 2.

277. Count Fathom.

Chap. xxI.

Swift's lines On the Death of Dr. Swift.
Congreve's Love for Love, Act 11. 5.
The Excursion, ix. 87.

Friar John. Rabelais' Gargantua, 1. 27. 278. L. 5 from foot. Take [taste]. 279. Which I was born to introduce. As a liar of the first magnitude. 280. Mighty stream of Tendency. Full of wise saws. As You Like It, Act 11. 7. The Return from Parnassus. 1606. Like the Edinburgh Review. reprinted (8vo) 1818.

Only two numbers were published, which were

Read the names. The Return from Parnassus, Act 1. 2.

282. Kempe the actor. William Kempe, fl. c. 1600.

Burbage. Richard Burbage (c. 1567-1618), the builder of the Globe

Theatre, and a great actor therein.

Few (of the University). Act Iv. 3.

283. Felt them knowingly. Cymbeline, 11. 3.

Philomusus and Studioso. Act 1. 1, Act 11. 5.

Out of our proof we speak. Cymbeline, 111. 3.

I was not train'd.

1819.

Charles Lamb's Sonnet, written at Cambridge, August 15,

284. Made desperate. The Excursion, VI. 532-3, quoted from Jeremy Taylor's Holy Dying, Chap. 1, § v.

A mere scholar. Return from Parnassus, 11. 6.

The examination of Signor Immerito. Act II. 1.

286. Gammer Gurton's Needle. Printed 1575. John Still (1543-1607), afterwards Bishop of Bath and Wells, is supposed to be its author.

287. Gog's crosse, and the following quotations. Act 1. 5.

289. Such very poor spelling. Cf. Lamb's story of Randal Norris, who once re

marked after trying to read a black-letter Chaucer, in those old books, Charley, there is sometimes a deal of very indifferent spelling.' See

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Lamb's Letter to H. Crabb Robinson, Jan. 20, 1827; Hone's Table Book,
Feb. 10, 1827; and the first edition of the Last Essays of Elia, 1833,
A Death-Bed.

289. The Yorkshire Tragedy. 1604 (attributed to Shakespeare); Sir John Old-
castle, 1600, (? by Munday and Drayton); The Widow of Watling Street,
[The Puritan, or The Widow, etc.], 1607 (by Wentworth Smith). See The
Round Table, vol. 1. p. 353, et seq., for Schlegel and Hazlitt on these.
Green's Tu Quoque, by George Cock. Greene's 'Tu Quoque,' 1614, by Joseph
Cooke (fl. c. 1600). Greene, the comedian, after whom the play is called,
died 1612.

290. Suckling's melancholy hat. Cf. p. 270 ante.

Microcosmus, by Thomas Nabbes. 1637. Thomas Nabbes flourished in the

time of Charles 1.

291. What do I see?

Act IV.

292. Antony Brewer's Lingua.

1607. This play is now said to be by John

Tomkins, Scholar of Trinity, Cambridge (1594-8).

Mr. Lamb has quoted two passages. Specimens, vol. 1. pp. 99-100. 292. Why, good father. Act 11. 4.

293. Thou, boy. Act II. 1.

The Merry Devil of Edmonton. 1608. The author is unknown.
Sound silver sweet. Romeo and Juliet, 11. 2.

The deer-stealing scenes. The Merry Devil of Edmonton, Act v. 1., etc.
Merry Wives of Windsor, IV. 4.

294. Very honest knaveries.

The way lies right. The Merry Devil of Edmonton, Act iv. 1.

The Pinner of Wakefield. By Robert Greene (1560-1592). His works have been edited by Dr. Grosart, and by Mr. Churton Collins.

Hail-fellow well met. Cf. Swift's My Lady's Lamentation.

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Jeronymo. 1588. The Spanish Tragedy (1583-5), licensed and performed
1592. See Prof. Schick's edition in The Temple Dramatists.' Thomas
Kyd, baptised November 6, 1558, died before 1601.

Which have all the melancholy madness of poetry. Junius: Letter No 7. to Sir
W. Draper.

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The Nice Valour, or Passionate Madman. Published 1647.

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296. The silver foam. Cowper's Winter's Walk at Noon, ll. 155-6—

'Her silver globes, light as the foamy surf

That the wind severs from the broken wave.'

Grim-visaged, comfortless despair. Cf. 'grim visag'd war.' Richard III., 1. 1 ; and 'grim and comfortless despair.' Comedy of Errors, v. 1.

Beaumont died. His years were thirty-two (1584-1616).

'Tis not a life. Philaster, Act v. 2. See P. 262.

The lily on its stalk green. Chaucer, The Knighte's Tale, 1036.
Lapt in Elysium. Comus, 257.

Raphael. Raphael's years were thirty-seven (1483-1520).

297. Now that his task. Comus, 1012.

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297. Rymer's abuse. See Thomas Rymer's (1641-1713) The Tragedies of the Last Age Considered (1678). He was called by Pope the best' and by Macaulay 'the worst' English critic.

The sons of memory. Milton's Sonnet on Shakespeare, 1630.

Sir John Beaumont (1582-1628), the author of Bosworth Field.

Fleeted the time carelessly. As You Like It, 1. 1. ['golden world."] 298. Walton's Complete Angler. Third Day, chap. iv.

Note. Rochester's Epigram. Sternhold and Hopkins were the joint-authors of the greater number of the metrical versions of the Psalms (1547-62), which used to form part of the Book of Common Prayer. 299-300. Drummond of Hawthornden. William Drummond (1585-1649).

His

Conversations with Ben Jonson were written of a visit paid him by Jonson in 1618. Mention might be made of Mr. W. C. Ward's edition of his Poems (1894), wherein many variations from Hazlitt's text of the sonnets may be noted, too numerous to detail here.

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301. The fly that sips treacle. Gay's Beggar's Opera, 11. 2.

Sugar'd sonnetting.

Cf. Francis Meres' Palladis Tamia, 1598, concerning Shakespeare's sugred Sonnets,' and Judicio in The Return from Parnassus (see p. 281 ante), 'sugar'd sonnetting.'

302. The gentle craft. The sub-title of a play of T. Dekker's: The Shoemaker's Holiday, or the Gentle Craft (1600). The phrase has long been associated with that handicraft.

A Phoenix gazed by all. Paradise Lost, v. 272.

Give a reason for the faith that was in me. Cf. Sydney Smith's-'It is always right that a man should be able to render a reason for the faith that is within him.'

303. Oh, how despised. Act 1. 1.

304. The Triumph of his Mistress. The Triumph of Charis.

Nest of spicery. Richard III., 1v. 4.

Oh, I could still. Cynthia's Revels, 1. 1.

306. A celebrated line. See Coleridge's Tragedy Osorio, Act iv., Sc. I., written 1797, but not published in its original form until 1873. Coleridge's Poetical Works, ed. Dykes Campbell, p. 498.

'Drip! drip drip! drip! in such a place as this

It has nothing else to do but drip! drip! drip!'

Recast and entitled Remorse, the tragedy was performed at Drury Lane, Jan. 23, 1813, and published in pamphlet form. In the Preface Coleridge relates the story of Sheridan reading the play to a large company, and turning it into ridicule by saying

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Drip drip drip! there's nothing here but dripping.'

Hazlitt's quotation is taken, of course, from this Preface to Remorse.

307. The milk of human kindness. Macbeth, 1. 5.

309. Daniel. Samuel Daniel, 1562-1619.

311. Michael Drayton (1563-1631). His Polyolbion, or chorographicall' description of England in thirty books was issued in 1612-22. See the Spenser Society's editions of Drayton's works.

P. Fletcher's Purple Island. Phineas Fletcher (1582-1650). The Purple Island, 1633. The poem has been topographically catalogued under 'Man, Isle of'!

Brown. William Browne (1591-c. 1643). Britannia's Pastorals, 1613-16: a third book (in мss.) was printed in 1852.

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