Chapter XXXIV: Act III: 2

_I did not think Master Silence, in some authority_, and _You
have here_, Part II. Act V. 3.

284. _When on the gentle Severn’s sedgy bank_ and _By heaven_ [honour
from the pale-faced moon], Part I. Act I. 3.

_Had my sweet Harry_, Part II. Act II. 3.

HENRY V.

PAGE

285. _the_ [best] _king of good fellows_, Act V. 2.

_plume up their wills._ _Othello_, Act I. 3.

_the right divine_, Pope’s _Dunciad_, Book IV. 1. 188.

286. _when France is his_, Act I. 2.

_O for a muse of fire_, Prologue.

287. _the reformation and which is a wonder_, Act I. 1.

_And God forbid_, Act I. 2.

288. _the ill neighbourhood_, _For once the eagle England_, and _For
government_ [the act of order], Act I. 2.

289. _rich with_ [omit _his_] _praise_, Act I. 2.

_O hard condition_, Act IV. 1.

290. _The Duke of York_, Act IV. 6.

291. _some disputations_, Act III. 2.

HENRY VI.

292. _flat and unraised._ _King Henry V._, Act I., Chorus.

_Glory is like a circle_, Part I. Act I. 2.

_yet tell’st thou not_, Part I. Act I. 4.

293. _Aye, Edward will use women honourably_, Part III. Act III. 2.

_We have already observed._ See note to p. 200 for the source of
this paragraph.

294. _The characters and situations._ The material between these words
and _disappointed ambition_ (p. 297) formed part of an article
by Hazlitt in _The Examiner_ (see note to p. 200).

_Edward Plantagenet_, Part III. Act II. 2.

_mock not my senseless conjuration._ _Richard II._, Act III. 2
[foul rebellion’s arms ... lift shrewd steel ... God for his
Richard].

295. _But now the blood._ _Richard II._, Act III. 2.

_cheap defence._ Cf. Burke: _Reflections on the Revolution in
France_, ‘the cheap defence of nations.’

_Awake, thou coward majesty_ [twenty thousand names] and _Where
is the duke_. _Richard II._, Act III. 2.

296. _what must the king do now._ _Richard II._, Act III. 3.

_This battle fares_, Part III. Act II. 5.

297. _had staggered his royal person._ _Richard II._, Act V. 5.

RICHARD III.

PAGE

298. _the character in which Garrick came out._ David Garrick
(1717–1779) appeared, October 19, 1741, at the theatre in
Goodman’s Fields.

_the second character in which Mr. Kean appeared._ Edmund Kean
(1787–1833) appeared at Drury Lane as Shylock, January 26,
1814, on February 1st as Shylock, on February 12th as Gloster
in Richard III. See _Some Account of the English Stage_,
Genest, vol. viii. pp. 407–408, 1832. See also Hazlitt’s _A
View of the English Stage_.

_But I was born_, Act I. 3.

299. _Cooke._ George Frederick Cooke (1756–1811) acted Richard III. at
Covent Garden on September 20, 1809. See Genest’s _Some Account
of the English Stage_, viii. p. 178.

300. _Sir Giles Overreach_, in Massinger’s _A New Way to Pay Old
Debts_ (1620–33). For Hazlitt’s criticism of Kean’s acting in
this and the other characters referred to in the same paragraph
see his _A View of the English Stage_.

_Oroonoko_, or the Royal Slave. A play (1696) by Thomas Southerne
(1660/1–1746) founded on a novel of Aphra Behn’s (1640–1689).

_Cibber._ See note to p. 157.

301. _bustle in_, Act I. 1.

_they do me wrong_, Act I. 3 [speak fair].

_I beseech your graces_, Act I. 1.

302. _Stay, yet look_, Act IV. 1 [rude, ragged nurse].

_Dighton and Forrest_, Act IV. 3.

HENRY VIII.

303. _Nay, forsooth_, Act III. 1.

_Dr. Johnson observes_, Malone’s _Shakespeare_, vol. xix. p. 498.

304. _Farewell, a long farewell_, Act III. 2.

_him whom of all men_, Act IV. 2.

_while her grace sat down_, Act IV. 1.

305. _No maid could live near such a man._ Mr. P. A. Daniel suggests
that by a slip this remark has been said of Shakespeare instead
of Henry VIII. The emendation would make the paragraph read
thus: ‘It has been said of him [_i.e._ Henry VIII.]—“No maid
could live near such a man.” It might with as good reason be
said of Shakespear—“No king could live near such a man.”’

_the best of kings._ A phrase applied to Ferdinand VII. of Spain
in official documents. See _The Examiner_, September 25, 1814,
where the words are ironically italicised.

KING JOHN

306. _denoted a foregone conclusion._ _Othello_, Act III. 3.

_To consider thus._ _Hamlet_, Act V. 1.

307. _Heat me these irons_, Act IV. 1.

310. _There is not yet_, Act IV. 3.

_To me_, Act III. 1.

_that love of misery_ and _Oh father Cardinal_, Act III. 4.

311. _Aliquando._ Ben Jonson’s _Discoveries_, LXIV., _De Shakespeare
Nostrati_.

_commodity, tickling commodity_, Act II. 1.

312. _That daughter there_, Act II. 1 [niece to England].

_Therefore to be possessed_, Act IV. 2.

TWELFTH NIGHT

314. _high fantastical_, Act I. 1.

_Wherefore are these things hid_, Act I. 3.

_rouse the night-owl_ and _Dost thou think_, Act II. 3.

_we cannot agree with Dr. Johnson._ See Dr. Johnson’s _Preface_,
before cited, p. 71.

315. _What’s her history_, Act II. 4.

_Oh, it came o’er the ear_, Act I., 1 [the sweet sound].

_They give a very echo_, Act II. 4.

_Blame not this haste_, Act IV. 3.

316. _O fellow, come_, Act II. 4.

_Here comes the little villain_, Act II. 5 [drawn from us with
cars].

THE TWO GENTLEMEN OF VERONA

318. _It is observable._ The note is by Pope. See Malone’s
_Shakespeare_, vol. iv. p. 3.

_This whole scene._ Pope’s note is to Act I. 1. See Malone’s
_Shakespeare_, vol. iv. p. 13.

_Why, how know you_, Act II. 1.

319. _I do not seek_, Act II. 7.

_The river wanders_ [glideth] _at its_ [his] _own sweet will.
Sonnet composed upon Westminster Bridge_, September 3, 1802.

_And sweetest Shakespear._ _L’Allegro_, lines 133–134.

[Or sweetest Shakespeare ...
Warble....]

THE MERCHANT OF VENICE

320. _Mr. Cumberland._ Richard Cumberland (1732–1811), dramatist.

_baited with the rabble’s curse._ _Macbeth_, Act V. 8.

_a man no less sinned against._ Cf. _King Lear_, Act III. 2.

_the lodged hate_, Act IV. 1.

_milk of human kindness._ _Macbeth_, Act I. 5.

_Jewish gaberdine_, Act I. 3.

_lawful_, Act IV. 1.

_on such a day_, Act I. 3.

321. _I am as like_, Act I. 3.

_To bait fish withal_, Act III. 1.

_What judgment_, Act IV. 1.

322. _I would not have parted_, Act III. 1.

_civil doctor_ and _On such a night_, Act V. 1.

_conscience and the fiend_, Act II. 2.

_I hold the world_, Act I. 1.

323. _How sweet the moonlight_, Act V. 1.

_Bassanio and old Shylock_, Act IV. 1.

324. _’Tis an unweeded garden._ _Hamlet_, Act I. 2 [things rank, and
gross in nature, possess it merely].

THE WINTER’S TALE

324. _We wonder that Mr. Pope._ See Pope’s _Preface_, Malone’s
_Shakespeare_, vol. i. p. 15.

_Ha’ not you seen_, Act I. 2.

325. _Is whispering nothing?_ Act I. 2.

326. _Thou dearest Perdita_, Act IV. 4.

329. _Even here undone_, Act IV. 4.

ALL’S WELL THAT ENDS WELL

330. _Oh, were that all_, Act I. 1.

_The soul of this man_, Act II. 5.

_the bringing off of his drum_, Act III. 6 and Act IV. 1.

331. _Is it possible_, Act IV. 1.

_Yet I am thankful_, Act IV. 3.

_Frederigo Alberigi and his Falcon_, Boccaccio’s _Decameron_, 5th
day, 9th story.

332. _the story of Isabella._ _Id._, 4th day, 5th story.

_Tancred and Sigismunda._ _Id._, 4th day, 1st story. See also
Dryden’s _Sigismonda and Guiscardo_.

_Honoria._ _Id._, 5th day, 8th story. See also Dryden’s _Theodore
and Honoria_.

_Cimon and Iphigene._ _Id._, 5th day, 1st story. See also
Dryden’s _Cimon and Iphigenia_.

_Jeronymo._ _Id._, 4th day, 8th story.

_the two holiday lovers._ _Id._, 4th day, 7th story.

_Griselda._ _Id._, 10th day, 10th story.

LOVE’S LABOUR’S LOST

332. _the golden cadences of poesy_, Act IV. 2.

_set a mark of reprobation_, Pope’s note to _The Two Gentlemen of
Verona_. Malone’s _Shakespeare_, vol. iv. p. 13.

333. _as too picked_, Act V. 1.

_as light as bird from brake_ [brier]. _A Midsummer Night’s
Dream_, Act V. 1.

_O! and I forsooth_, Act III. 1 [a humorous sigh ... This
senior-junior].

334. _Oft have I heard_, Act V. 2 [your fruitful brain].

_the words of Mercury_, Act V. 2.

MUCH ADO ABOUT NOTHING

335. _Oh, my lord_, Act I. 1.

_No, Leonato_, Act. IV. 1.

336. _She dying_, Act IV. 1 [the idea of her life].

_For look where Beatrice_ and _What fire is in mine ears_, Act
III. 1.

337. _Monsieur Love_ ... _This can be no trick_, Act II. 3.

_Disdain and scorn_, Act III. 1.

AS YOU LIKE IT

338. _fleet the time_, Act I. 1.

_under the shade_, Act II. 7.

_who have felt_, Cymbeline, Act III. 2.

_They hear the tumult_, Cowper’s _Task_, IV. 99–100, ‘I behold
the tumult, and am still.’

339. _And this their life_, Act II. 1.

_suck melancholy_, Act II. 5.

_who morals on the time_, Act II. 7.

_Out of these convertites_, Act V. 4.

_In heedless mazes._ _L’Allegro_, 141–142.

[With wanton heed and giddy cunning,
The melting voice through mazes running.]

_For ever and a day_, Act IV. 1.

340. _We still have slept together_, Act I. 3.

_And how like you_, Act III. 2.

341. _Blow, blow_, Act II. 7.

_an If_, Act V. 4.

_Think not I love him_, Act III. 5.

THE TAMING OF THE SHREW

342. _Think you a little din_, Act I. 2.

_I’ll woo her_, Act II. 1.

343. _Tut, she’s a lamb_, Act III. 2.

344. _Good morrow, gentle mistress_, Act IV. 5.

_The mathematics_, Act I. 1.

_The Honey-Moon._ A successful play by John Tobin (1770–1804)
with a plot similar to that of _The Taming of the Shrew_,
produced at Drury Lane January 31, 1805.

_Tranio, I saw her coral lips_, Act I. 1.

345. _I knew a wench_, Act IV. 4.

_Indifferent well_, Act I. 1.

_for a pot_ and _I am Christopher Sly_, Induc. Scene 2.

_The Slies are no rogues_, Induc. Scene 1.

MEASURE FOR MEASURE

345. _The height of moral argument._ ‘The highth of this great
argument,’ _Paradise Lost_, I. l. 24.

346. _one that apprehends death_, Act IV. 2.

_He has been drinking_, Act IV. 3.

_wretches_, Schlegel, p. 387.

_as the flesh_, Act II. 1.

_A bawd, sir?_ and _Go to, sir_, Act IV. 2.

347. _there is some soul of goodness._ _Henry V._, Act IV. 1.

_Let me know the point_, Act III. 1.

348. _Reason thus with life_, Act III. 1.

THE MERRY WIVES OF WINDSOR

PAGE

349. _commanded to shew the knight._ Cf. Schlegel, p. 427.

350. _some faint sparks._ _Hamlet_, Act V. 1 [your flashes ... the
table on a roar].

_to eat._ _2 Henry IV._, Act II. 1.

_to be no more so familiarity._ _2 Henry IV._, Act II. 1.

_an honest_, Act I. 4.

_very good discretions._ Cf. Act I. 1.

_cholers_, Act III. 1.

THE COMEDY OF ERRORS

352. _How long hath this possession_, Act V. 1.

353. _They brought one Pinch_, Act V. 1.

DOUBTFUL PLAYS OF SHAKESPEAR

353. _All the editors_, Schlegel, p. 442.

_at the blackness_, Schlegel, see above.

357. _a lasting storm._ _Per._, IV. 1 [whirring me from my friends].

POEMS AND SONNETS

358. _as broad and casing._ _Macbeth_, Act III. 4 [broad and general
as the casing air].

_cooped._ Cf. _Macbeth_, Act III. 4 [cabined, cribbed, confined].

_glancing from heaven._ _A Midsummer Night’s Dream_, Act V. 1.

359. _Oh! idle words._ _Lucrece_, ll. 1016–1122 [Out, idle words, be
you mediators].

_Round hoof’d._ _Venus and Adonis_, ll. 295–300.

_And their heads._ _A Midsummer Night’s Dream_, Act IV. 1.

360. _Constancy._ _Sonnet_ XXV.

_Love’s Consolation._ _Sonnet_ XXIX.

_Novelty._ _Sonnet_ CII. [stops her pipe].

361. _Life’s Decay._ _Sonnet_ LXXIII.

A LETTER TO WILLIAM GIFFORD, ESQ.

William Gifford (1756–1826), the son of a glazier, after a neglected childhood, during which he was at one time apprenticed to a shoemaker, entered Exeter College, Oxford, through the kindness of a friend, and graduated in 1782. His two satires, _The Baviad_ (1791) and _The Mæviad_ (1795), were published together in 1797, and his translation of Juvenal, upon which he had been working since he left Oxford, in 1802. He became editor of _The Anti-Jacobin_ (1797), and was the first editor (1809–1824) of _The Quarterly Review_. He published a translation of Persius in 1821, and editions of some of the old dramatists: Massinger (1805), Ben Jonson (1816), Ford (1827), and Shirley (completed by Dyce, 1833). In _The Examiner_ for June 14, 1818, appeared a ‘Literary Notice,’ entitled ‘The Editor of the Quarterly Review,’ which Hazlitt incorporated in the present ‘Letter.’

366. ‘_False and hollow_,’ _etc._ _Paradise Lost_, II. 112 _et seq._

_Ackerman’s dresses for May._ Rudolf Ackerman’s (1764–1834)
_Repository of Arts, Literature, Fashions, Manufactures_,
_etc._, was issued periodically between 1809 and 1828.

_Carlton House._ The residence of the Prince Regent. It was
pulled down in 1826.

367. _A Jacobin stationer._ Hazlitt refers to the case of William Paul
Rogers, a Chelsea stationer, who for taking an active part in a
petition for reform was deprived of the charge of a letter-box.
Leigh Hunt referred to the case in _The Examiner_ for February
7, 1819 (not February 9, as Hazlitt says), and opened a
subscription list for Rogers. The two clergymen referred to
took an active part against Rogers. Wellesley, a brother of the
Duke of Wellington, was Rector of Chelsea, and Butler had a
school there.

‘_The tenth transmitter._’

‘No tenth transmitter of a foolish face.’

Richard Savage’s _The Bastard_, l. 7.

368. _Ultra-Crepidarian._ Leigh Hunt published a satire on Gifford
entitled _Ultra-Crepidarius_ in 1823, but the phrase was
invented for Gifford, Leigh Hunt says in his preface, ‘by a
friend of mine ... one of the humblest as well as noblest
spirits that exist.’ This was perhaps Lamb.

370. _Your account of the first work._ In _The Quarterly Review_,
April 1817 (vol. xvii. p. 154).

_Albemarle Street hoax._ John Murray (1778–1843), the founder and
publisher of _The Quarterly Review_, purchased No. 50 Albemarle
Street in 1812.

372. ‘_Secret, sweet and precious._’

‘The landlady and Tam grew gracious
Wi’ secret favours, sweet and precious.’

Burns, _Tam o’Shanter_.

373. ‘_Two or three conclusive digs_,’ _etc._ From a passage in Leigh
Hunt’s essay ‘On Washerwomen’ referred to by Gifford.

Note. ‘_The milk of human kindness._’ _Macbeth_, Act I. Scene 5.

374. _Earl Grosvenor._ Gifford was for a time tutor in Lord
Grosvenor’s family.

‘_Their gorge did not rise._’ _Hamlet_, Act V. Scene 1.

‘_You assume a vice_,’ _etc._

‘Assume a virtue, if you have it not.’

_Hamlet_, Act III. Scene 4.

_In the ‘Examiner.’_ February 25, 1816.

375. _How little knew’st thou of Calista!_

‘O, thou hast known but little of Calista!’

Rowe’s _The Fair Penitent_, Act IV. Scene 1.

_Anne Davies._ Gifford bequeathed £3000 to her relatives. In
addition to the epitaph quoted in the text he wrote an elegy on
her, beginning, ‘I wish I was where Anna lies,’ which is
referred to in Hazlitt’s character of Gifford in _The Spirit of
the Age_.

376. ‘_Other such dulcet diseases._’ _As You Like It_, Act V. Scene 4.

‘_Compunctious visitings of Nature_.’ _Macbeth_, Act I. Scene 5.

‘_You are well tuned now_,’ _etc._ _Othello_, Act II. Scene 1.

‘_Made of penetrable stuff._’ _Hamlet_, Act III. Scene 4.

‘_Stuffed with paltry, blurred sheets._’ Burke’s _Reflections on
the Revolution in France_ (_Select Works_, ed. Payne, ii. 101).

Note 1. ‘_It is easier_,’ _etc._ _St. Matthew_, xix. 24.

377. _The Admiralty Scribe._ John Wilson Croker (1780–1857), who
contributed two hundred and sixty articles to _The Quarterly
Review_, was Secretary to the Admiralty from 1809 to 1830.

_His ‘Feast of the Poets.’_ Published in 1814.

378. _Thus painters write their names at Co._ From Prior’s
_Protogenes_ and _Apelles_. Burke quoted the line in his
_Regicide Peace_ (_Select Works_, ed. Payne, p. 94).

_For this passage_, _etc._ Leigh Hunt and his brother John were
in prison for two years from February 1813 for a libel on the
Prince Regent in _The Examiner_ (March 22, 1812). Leigh Hunt
was sent, not to Newgate, but to the Surrey Gaol in Horsemonger
Lane, where he wrote _The Descent of Liberty: A Masque_, and
the greater part of _The Story of Rimini_. Gifford’s review of
_Rimini_ appeared in _The Quarterly Review_ for Jan. 1816 (vol.
xiv. p. 473).

378. _Yet you say somewhere._ In the review of Hazlitt’s _Lectures on
the English Poets_ (_Quarterly Review_, July 1818, vol. xix. at
p. 430).

Note. _Mary Robinson_ (1758–1800), known as ‘Perdita,’ from her
having captivated the Prince of Wales while she was acting in
that part in 1778. On being deserted by him she devoted herself
to literature, and became one of the Della Cruscan School
ridiculed by Gifford. Hazlitt refers to Gifford’s _Baviad_, ll.
27–28:—

‘See Robinson forget her state, and move
On crutches tow’rds the grave, to “Light o’ Love.”’

_Put on the pannel_, _etc._ ‘If I can help it, he shall not be on
the inquest of my _quantum meruit_.’ Burke’s _A Letter to a
Noble Lord_ (_Works_, Bohn, V. 114). Note. _Mr. Sheridan once
spoke._ See speech of March 7, 1788 (_Parl. Hist._, vol.
xxvii.).

379. John Hoppner (1758–1810), the portrait-painter.

Charles Long (1761–1838), paymaster-general, created Baron
Farnborough in 1826.

380. ‘_From slashing Bentley_,’ _etc._ Pope, _Prologue to the
Satires_, l. 164.

381. ‘_It was Caviare to the multitude._’ ‘’Twas caviare to the
general.’ _Hamlet_, Act II. Scene 2.

Note. _Hamlet_, Act II. Scene 2.

382. _An Essay on the Ignorance of the Learned._ Republished in _Table
Talk_, from _The Scots Magazine_ (New Series), iii. 55.

384. _Blackwood’s Edinburgh Magazine._ Founded by William Blackwood
(1776–1834) in 1817.

_You have tried it twice since._ That is, in his reviews of
_Characters of Shakespear’s Plays_ (January 1818, vol. xviii.
p. 458) and of _Lectures on the English Poets_ (July 1818, vol.
xix. p. 424).

385. _Be noticed in the Edinburgh Review._ By Jeffrey, July 1817 (vol.
xxviii. p. 472). ‘_Dedicate its sweet leaves._’

‘Ere he can spread his sweet leaves to the air,
Or dedicate his beauty to the sun.’

_Romeo and Juliet_, Act I. Scene 1.

386. ‘_This is what is looked for_,’ _etc._ _Twelfth Night_, Act III.
Scene 2.

‘_They keep you as an ape_,’ _etc._ _Hamlet_, Act IV. Scene 2.

_You ‘have the office,’_ _etc._

‘——You, mistress,
That have the office opposite to Saint Peter,
And keep the gate of hell!’

_Othello_, Act IV. Scene 2.

386. _You ‘keep a corner,’_ _etc._

‘Or keep it as a cistern for foul toads
To knot and gender in.’

_Othello_, Act IV. Scene 2.

‘_Lay the flattering unction._’

‘Lay not that flattering unction to your soul.’

_Hamlet_, Act III. Scene 4.

387. _The authority of Mr. Burke._ Burke refers to Henry VIII. as ‘one
of the most decided tyrants in the rolls of history,’ and
speaks of ‘his iniquitous proceedings’ ‘when he resolved to rob
the abbies.’ _Reflections on the Revolution in France_ (_Select
Works_, ed. Payne, ii. 136–137). See also a passage in _A
Letter to a Noble Lord_ (_Works_, Bohn, V. 131 _et seq._).

_With Mr. Coleridge in his late Lectures._ Hazlitt probably
refers to _The Statesman’s Manual_ (1816). See _Political
Essays_.

‘_Truth to be a liar._’ _Hamlet_, Act II. Scene 2.

‘_Speak out, Grildrig._’ See Swift’s _Gulliver’s Travels_ (Voyage
to Brobdingnag).

388. ‘_The insolence of office_,’ _etc._ _Hamlet_, Act III. Scene 1.

_Those ‘who crook,’_ _etc._ _Hamlet_, Act III. Scene 2.

_Spa-fields._ Where the famous meeting of reformers had recently
(December 2, 1816) been held.

_A seditious Sunday paper._ _The Examiner_ was published on
Sunday.

_Mr. Coleridge’s ‘Conciones ad Populum.’_ Two anti-Pittite
addresses published in 1795.

389. ‘_The pride, pomp_,’ _etc._ _Othello_, Act III. Scene 3.

‘_One murder makes a villain_,’ _etc._ From Bishop Porteus’s
prize poem _Death_ (1759).

390. _The still sad music of humanity._ Wordsworth’s _Lines composed a
few miles above Tintern Abbey_.

391. _You have forgotten Mr. Burke_, _etc._ See _Letters on a Regicide
Peace_ (_Select Works_, ed. Payne, iii. p. 50).

‘_Go to_,’ _etc._

‘Go to, Sir; you weigh equally; a feather will turn the scale.’

_Measure for Measure_, Act IV. Scene 2.

‘The weight of a hair will turn the scales between their avoirdupois.’

_2 Henry IV._, Act III. Scene 4.

‘_Cinque-spotted_,’ _etc._ _Cymbeline_, Act II. Scene 3.

Note. ‘_Carnage is the daughter of humanity._’ See note to p. 214
and _Notes and Queries_, 9th series, ii. 309, 398; iii. 37.

392. _Red-lattice phrases._ Alehouse language. See _Merry Wives of
Windsor_, Act II. Scene 2.

393. _Such ‘welcome and unwelcome things.’_ _Macbeth_, Act IV. Scene
3.

_The objection to ‘Romeo and Juliet.’_ See _ante_, p. 249.
Hazlitt refers to the criticism of _Paradise Lost_ in his
Lecture on Shakspeare and Milton (_Lectures on the English
Poets_).

Note. Quoted from a review by Jeffrey in _The Edinburgh Review_,
August 1817 (vol. xxviii. at p. 473).

394. ‘_One of the most perfect_,’ _etc._ Quoted from Gifford’s review
of _Characters of Shakespear’s Plays_ (vol. xviii. p. 458).

_Ends of verse_, _etc._

‘Chear’d up himself with ends of verse,
And sayings of philosophers.’

_Hudibras_, Part I. Canto iii.

394. _The geometricians and chemists of France._ Burke’s _A Letter to
a Noble Lord_ (_Works_, Bohn, V. 142).

‘_Present to your mind’s eye._’ _Hamlet_, Act I. Scene 2.

‘_Holds his crown_,’ _etc._ Burke’s _Reflections on the
Revolution in France_ (_Select Works_, ed. Payne, ii. 17).

395. _The ingenious parallel_, _etc._ See _ante_, p. 171.

_The article in the last Review._ _Quarterly Review_, July 1818
(vol. xix, p. 424).

398. _We must speak by the card_, _etc._ _Hamlet_, Act V. Scene 1.

_A knavish speech_, _etc._ _Hamlet_, Act IV. Scene 2.

_Shakespear says_, _etc._ _Othello_, Act III. Scene 3.

400. _The authority of Mr. Burke._ Hazlitt quotes inaccurately a
passage in Burke’s essay ‘On the Sublime and Beautiful,’
_Works_ (Bohn), i. 81.

_Emelie that fayrer_, _etc._ _Canterbury Tales_ (The Knightes
Tale, 1035–8).

401. _The only mistake._ The reference is probably to a passage in the
first edition, where Hazlitt says, ‘Prior’s serious poetry, as
his _Alma_, is as heavy, as his familiar style was light and
agreeable.’ Gifford quotes this passage and adds: ‘Unluckily
for our critic, Prior’s _Alma_ is in his lightest and most
familiar style, and is the most highly finished specimen of
that species of versification which our language possesses.’ In
the second edition Hazlitt substituted _Solomon_ for _Alma_.

_Mr. Coleridge._ See _Biographia Literaria_, Chap, iii., note at
the end. Coleridge had already in the first number of the
Friend referred to this passage, which appeared in a footnote
by the editor of _The Beauties of the Anti-Jacobin_, and not in
_The Anti-Jacobin_ itself. See _Athenæum_, May 31, 1900.

_Your predecessor._ Gifford was himself editor of the
_Anti-Jacobin, or Weekly Examiner_, which appeared from
November 20, 1797, to July 9, 1798.

402. ‘_Dying, make a swan-like end._’

‘Then, if he lose, he makes a swan-like end,
Fading in music.’

_Merchant of Venice_, Act III. Scene 2.

‘_Being so majestical_,’ _etc._ _Hamlet_, Act I. Scene 1.

‘_Love is not love_,’ _etc._ Shakespeare, _Sonnet_ CXVI.

403. ‘_A writer of third-rate books._’ ‘He is a mere quack, Mr.
Editor, and a mere bookmaker; one of the sort that lounge in
third-rate book shops, and write third-rate books.’ From a
letter in _Blackwood’s Magazine_, August 1818 (vol. iii. p.
550).

_An Essay on the Principles of Human Action._ Published in 1805.

408. _Mirabaud._ D’Holbach’s _Système de la Nature_ is wrongly
attributed to Jean Baptiste de Mirabaud (1675–1760), the
translator of Tasso.

409. ‘_On this bank and shoal of time._’ _Macbeth_, Act I. Scene 7.

-----

Footnote 87:

_Antony and Cleopatra_, Act IV. Scene 14.

Footnote 88:

For Tramezzani and William Augustus Conway (1789–1828), who were not
favourites of Hazlitt, see _A View of the English Stage_.

Footnote 89:

_Paradise Lost_, IV. 299.

Footnote 90:

_Don Quixote_, Book III. Chap. xxv.

Footnote 91:

_The Canterbury Tales._ _The Wife of Bath’s Prologue_, ll. 593–599.

Footnote 92:

_Hamlet_, Act II. Scene 2.

Footnote 93:

Cobbett’s _Weekly Political Register_ for November 18, 1815 (vol.
xxix). Cobbett’s outburst against Milton and Shakespeare is headed ‘On
the subject of potatoes.’

Footnote 94:

See _ante_, p. 116.

Footnote 95:

_Œuvres_, xxxv. p. 159.

Footnote 96:

Probably the Letter from Paris, dated September 23, 1815, relating to
the disposal of the works of art acquired by Napoleon.

Footnote 97:

See _ante_, pp. 140–151. The _Catalogue_ appeared in _The Morning
Chronicle_ during the autumn of 1815 and the spring of 1816, beginning
on September 22, 1815.

Footnote 98:

The reference seems to be to Samuel Parr (1747–1825) and Charles
Burney (1757–1817). See Hazlitt’s essay ‘On the Ignorance of the
Learned’ in _Table Talk_.

Footnote 99:

_2 Henry IV._, Act II. Scene 4.

Footnote 100:

_Midsummer Night’s Dream_, Act I. Scene 2.

Footnote 101:

_Political Register_, July 30, 1802.

Footnote 102:

See _The Faerie Queene_, II. xii. st. 86 and 87.

Footnote 103:

A variation, quoted from Burke (_A Letter to a Noble Lord_), of
Shakespeare’s well-known lines in _The Tempest_, Act IV. Scene 1.

Footnote 104:

For Burke on Rousseau see especially _A Letter to a Member of the
National Assembly_ (1791).

Footnote 105:

‘I give you joy of the report,
That he’s to have a place at court.’
‘Yes, and a place he will grow rich in;
A turnspit in the royal kitchen.’

Swift, Miscell. Poems, _Upon the Horrid Plot_, etc.

See Burke’s Speech (1780) on Economical Reform.

Footnote 106:

_Reflections on the Revolution in France_ (_Select Works_, ed. Payne,
ii. 17).

Footnote 107:

See Southey’s _Carmen Triumphale_.

Footnote 108:

See the Notes to Southey’s _Carmen Triumphale_.

Footnote 109:

See _ante_, note to p. 45.

Footnote 110:

_Tristram Shandy_, IX. 26.

Footnote 111:

In the _Life of Napoleon_ Hazlitt refers to this saying, which he
calls ‘quackery.’

Footnote 112:

‘Nothing can be conceived more hard than the heart of a thorough-bred
metaphysician.’ _A Letter to a Noble Lord_ (_Works_, Bohn, V. 141).

Footnote 113:

From the _Essay on Poetry_ of John Sheffield, Duke of Buckingham.

Printed by T. and A. CONSTABLE, (late) Printers to Her Majesty at the
Edinburgh University Press

------------------------------------------------------------------------

TRANSCRIBER’S NOTES

1. No attempt was made to standardize inconsistencies in spelling such as Shakespear, Shakespeare, and Shakspeare. 2. Changed “dissoûte” to “dissoute” on p. xxxi. 3. Changed “etoit” to “étoit” on p. 90. 4. Changed “bonhommie” to “bonhomme” on p. 208. 5. Silently corrected typographical errors. 6. Retained anachronistic and non-standard spellings as printed. 7. Enclosed italics font in _underscores_.