Chapter XLII: Act IV: ; Webster, passim

[Footnote 380: "Anatomy of Melancholy," 12th ed. 1821, 2 vols; Democritus to the Reader, I. 4.]

[Footnote 381: "Anatomy of Melancholy," I. part 2, sec. 2, Mem. 4, p. 420 et passim.]

[Footnote 382: "The Works of Sir Thomas Browne," ed. Wilkin, 1852, 3 vols. "Hydriotaphia," III. ch. V. 14 et passim.]

[Footnote 383: See Milsand, Étude sur Sir Thomas Browne, in the "Revue des Deux Mondes," 1858.]

[Footnote 384: Bacon's Works. Translation of the "De Augmentis Scientiarum," Book II; To the King.]

[Footnote 385: Ibid. Book I. The true end of learning mistaken.]

[Footnote 386: Especially in the Essays.]

[Footnote 387: See also "Novum Organum," Books I and II; the twenty-seven kinds of examples, with their metaphorical names: Instantiæ crucis, divortii januæ, Instantiæ innuentes, polychrestæ, magicæ, etc.]

[Footnote 388: "The Works of Francis Bacon," London, 1824, vol. VII. p. 2. "Latin Biography," by Rawley.]

[Footnote 389: This point is brought out by the review of Lord Macaulay. "Critical and Historical Essays," vol. III.]

[Footnote 390: "Novum Organum," II. 15 and 16.]

[Footnote 391: Ibid. I. I. 3.]

[Footnote 392: "Natural History," 800, 24, etc. "De Augmentis," III. 1.]

CHAPTER SECOND

The Theatre

We must look at this world more closely, and beneath the ideas which are developed seek for the living men; it is the theatre especially which is the original product of the English Renaissance, and it is the theatre especially which will exhibit the men of the English Renaissance. Forty poets, amongst them ten of superior rank, as well as one, the greatest of all artists who have represented the soul in words; many hundreds of pieces, and nearly fifty masterpieces; the drama extended over all the provinces of history, imagination, and fancy--expanded so as to embrace comedy, tragedy, pastoral and fanciful literature--to represent all degrees of human condition, and all the caprices of human invention--to express all the perceptible details of actual truth, and all the philosophic grandeur of general reflection; the stage disencumbered of all precept and freed from all imitation, given up and appropriated in the minutest particulars to the reigning taste and public intelligence; all this was a vast and manifold work, capable by its flexibility, its greatness, and its form, of receiving and preserving the exact imprint of the age and of the nation.[393]