Chapter XXII: Letter XII: , Sept. 11, 1739

_Auld Robin Gray ... Lady Ann Bothwell’s lament._ Lady Anne Barnard
(1750–1825) did not acknowledge her authorship of ‘Auld Robin Gray’
(to Sir Walter Scott) until 1823.

142. _O waly, waly._ This ballad was first published in Allan Ramsay’s
_Tea Table Miscellany_, 1724.

[I. 8. ‘Sae my true love did lichtlie me.’

II. 5–8. ‘O wherefore should I busk my heid,
Or wherefore should I kame my hair?
For my true love has me forsook,
And says he’ll never lo’e me mair.’

III. 2, 8. ‘The sheets sall ne’er be press’d by me
For of my life I am wearie.’

V. 7–8. ‘And I mysel’ were dead and gane,
And the green grass growing over me!‘]
William Allingham’s _Ballad Book_, p. 41.

_The Braes of Yarrow._ By William Hamilton, of Bangour (1704–1754).

143. _Turner’s History of England._ Sharon Turner (1768–1847),
_History of England from the Norman Conquest to the Death of
Elizabeth_ (1814–1823). The story is a pretty one, but the Eastern
lady was not the mother of the Cardinal.

_J. H. Reynolds._ John Hamilton Reynolds (1796–1852).

VIII. ON THE LIVING POETS

143. _No more talk where God or angel guest._ _Paradise Lost_, IX.
1–3.

146. _The Darwins, the Hayleys, the Sewards._ Erasmus Darwin
(1731–1802), grandfather of Charles Darwin, and author of _The Loves
of the Plants_ (1789), a poem parodied by Frere in _The Anti-Jacobin_
as ‘The Loves of the Triangles.’ William Hayley (1745–1820), who wrote
_The Triumphs of Temper_ and a _Life of Cowper_. Anna Seward
(1747–1809), the ‘Swan of Lichfield.’ She wrote poetical novels,
sonnets and a life of Dr. Darwin.

_Face-making._ _Hamlet_, III. 2.

_Mrs. Inchbald._ Elizabeth Inchbald (1753–1821), novelist, dramatist
and actress.

_Thank the Gods._ Cf. _As You Like It_, III. 3.

_Mrs. Leicester’s School._ Ten narratives, seven by Mary, three by
Charles, Lamb (1807).

_The next three volumes of the Tales of My Landlord._ _The Heart of
Midlothian_ (second series of the _Tales_) was published in 1818, and
the third series, consisting of _The Bride of Lammermoor_ and _A
Legend of Montrose_, in 1819.

147. _Mrs. Barbauld._ Anna Letitia Barbauld (1743–1825), daughter of
the Rev. John Aitken, D.D., joint-author, with her brother John
Aitken, of _Evenings at Home_.

_Mrs. Hannah More_ (1745–1833). Her verses and sacred dramas were
published in the first half of her life: she gradually retired from
London society, and this may have led to Hazlitt’s doubtful remark as
to her being still in life.

147. _Miss Baillie._ Joanna Baillie (1762–1851). _Count Basil_ is one
of her _Plays of the Passions_ (1798–1802), and is concerned with the
‘passion’ of love. _De Montfort_ was acted at Drury Lane in 1800 by
Mrs. Siddons and Kemble.

_Remorse, Bertram, and lastly Fazio._ Coleridge’s _Remorse_ (1813),
for twenty nights at Drury Lane. C. R. Maturin’s _Bertram_ (1816),
successful at Drury lane. Dean Milman’s _Fazio_ (1815), acted at Bath
and then at Covent Garden.

_A man of no mark._ _1 King Henry IV._, III. 2.

_Make mouths_ [in them]. _Hamlet_, IV. 3.

_Mr. Rogers’s Pleasures of Memory._ Published in 1792.

_The Election._ Genest says it was performed for the third time on
June 10, 1817.

148. _The Della Cruscan._ The sentimental and affected style,
initiated in 1785 by some English residents at Florence, and
extinguished by Gifford’s satire in the _Baviad_ (1794), and _Maeviad_
(1796).

_To show that power of love_

‘He knows who gave that love sublime,
And gave that strength of feeling great
Above all human estimate.’
Wordsworth’s _Fidelity_.

149. _Campbell’s Pleasures of Hope._ Published in 1799, _Gertrude of
Wyoming_ in 1809.

_Some hamlet shade._ _Pleasures of Hope_, I. 309–10.

_Curiosa infelicitas._ ‘Curiosa felicitas Horatii.’ _Petronius
Arbiter_, § 118.

_Of outward show elaborate._ _Paradise Lost_, VIII. 538.

_Tutus nimium, timidusque procellarum._ Horace, _De Arte Poet._, 128.

150. _Like morning brought by night._ _Gertrude of Wyoming_, I. xiii.

_Like Angels’ visits._ _Pleasures of Hope_, Part II., l. 378. Cf. _The
Spirit of the Age_, vol. III. p. 346.

_Nec Deus intersit, nisi dignus vindice nodus._ Horace, _De Arte
Poetica_, 191.

151. _So work the honey-bees._ _Henry V._, I. 2.

_Around him the bees._ From the Sixth Song in _The Beggar’s Opera_.

_Perilous stuff._ _Macbeth_, V. 3.

152. _Nest of spicery._ _King Richard III._, IV. 4.

_Therefore to be possessed with double pomp._ _King John_, IV. 2.

153. _Nook monastic._ _As You Like It_, III. 2.

_He hath a demon._ Cf. ‘He hath a devil,’ _St. John_ X. 20.

_House on the wild sea._ Coleridge’s _The Piccolomini_, I. iv. 117.

154. _Looks on tempests._ _Shakespeare’s Sonnets_, CXVI.

_Great princes’ favourites._ Shakespeare’s _Sonnets_, XXV.

155. _Their mortal consequences._ _Macbeth_, V. 3.

_The warriors in the Lady of the Lake._ Canto V. 9.

_The Goblin Page._ Canto II. 31.

_Mr. Westall’s pictures._ Richard Westall (1765–1836). He designed
numerous drawings to illustrate Milton, Shakespeare, Scott, etc.

156. _Robinson Crusoe’s boat._ _The Surprising Adventures of Robinson
Crusoe_, p. 138, ed. G. A. Aitken.

_I did what little I could._ Hazlitt reviewed _The Excursion_ in _The
Examiner_ (see _The Round Table_, vol. I. pp. 111–125).

162. _Coryate’s Crudites._ _Hastily gobled up in Five Moneths’
Travells in France, etc._ (1611), by Thomas Coryate (? 1577–1617).

_The present poet-laureate._ Southey.

_Neither butress nor coign of vantage._ _Macbeth_, I. 6.

162. _Born so high._ _King Richard III._, I. 3.

_In their train_ [‘his livery’] _walked crowns_. _Antony and
Cleopatra_, V. 2.

163. _Meek daughters._ Coleridge’s _The Eolian Harp_.

_Owls and night-ravens flew._ Cf. _Titus Andronicus_, II. 3. ‘The
nightly owl or fatal raven.’

_Degrees, priority, and place._ _Troilus and Cressida_, I. 3.

_No figures nor no fantasies._ _Julius Caesar_, II. 1.

[No] _trivial fond records_. Hamlet, I. v.

_The marshal’s truncheon_, and the next quotation. _Measure for
Measure_, II. 2.

_Metre ballad-mongering._ _1 King Henry IV._, III. 1.

_The bare trees and mountains bare._ Wordsworth, ‘To my Sister.’

_He hates conchology._ See _The Spirit of the Age_, vol. IV. p. 277.

164. _The Anti-Jacobin Review._ Not _The Anti-Jacobin Review_
(1798–1821) but _The Anti-Jacobin_, wherein will be found Canning and
Frere’s parodies, the best-known of which is the one on Southey’s _The
Widow_, entitled ‘The Friend of Humanity and the Knife-Grinder.’

_When Adam delved._ See _Political Essays_, ‘Wat Tyler,’ Vol. III. pp.
192 _et seq._, and notes thereto.

_The Rejected Addresses._ By Horace and James Smith (1812).

_Sir Richard Blackmore._ See p. 108 and note thereto _ante_.

166. _Is there here any dear friend of Caesar?_ _Julius Caesar_, III.
2.

_Conceive of poetry._ ‘Apprehends death no more dreadfully but as a
drunken sleep; careless, reckless, and fearless of what’s past,
present, or to come,’ _Measure for Measure_, IV. 2.

_It might seem insidious._ Probably a misprint for ‘invidious.’

167. _Schiller! that hour._

[‘Lest in some after moment aught more mean ...
Diminished shrunk from the more withering scene.’]

_His Conciones ad Populum._ Two addresses against Pitt, 1795,
republished in ‘Essays on his Own Times.’

_The Watchman._ A Weekly Miscellany lasted from March 1, 1796, to May
13, 1796.

_His Friend._ Coleridge’s weekly paper lived from June 1, 1809, to
March 15, 1810.

_What though the radiance._ _Intimations of Immortality._

[‘Of splendour in the grass; of glory in the flower;
We will grieve not, rather find.’]

NOTES ON LECTURES ON THE AGE OF ELIZABETH

I. GENERAL VIEW OF THE SUBJECT

170. Add, to the Bibliographical Note: ‘The volume was printed by B.
M’Millan, Bow Street, Covent Garden.’

175. _Coke._ Sir Edward Coke (1552–1634), the jurist.

176. _Mere oblivion._ _As You Like It_, II. 7.

_Poor, poor dumb names_ [mouths.] _Julius Caesar_, III. 2.

_Webster._ John Webster (? d. 1625).

_Deckar._ Thomas Dekker (_c._ 1570–_c._ 1637).

_Marston._ John Marston (? 1575–1634).

_Marlow._ Christopher Marlowe (1564–1593).

_Chapman._ George Chapman (? 1559–1634).

_Heywood._ Thomas Heywood (c. 1575–c. 1641).

_Middleton._ Thomas Middleton (c. 1570–1627).

_Jonson._ Ben Jonson (1572/3–1637).

_Beaumont._ Francis Beaumont (1584–1616).

_Fletcher._ John Fletcher (1579–1625).

_Rowley._ William Rowley (c. 1585–c. 1642) is chiefly remembered as a
collaborator with the better-known Elizabethan Dramatists.

_How lov’d, how honour’d once._ Pope’s _Elegy to the Memory of an
Unfortunate Lady._

_Draw the curtain of time._ Cf. _Twelfth Night_, I. 5. ‘Draw the
curtain and shew you the picture.’

_Of poring pedantry._ ‘Of painful pedantry the poring child.’ Warton:
_Sonnet written in a blank leaf of Dugdale’s Monasticon_.

177. _The sacred influence of light._ _Paradise Lost_, II. 1034.

_Pomp of elder days._ Warton’s sonnet referred to above.

_Nor can we think what thoughts._ Dryden’s _The Hind and the Panther_,
I. 315.

178. _Think ... there’s livers out of Britain._ _Cymbeline_, III. 4.

_By nature’s own sweet and cunning hand._ _Twelfth Night_, I. 5.

_Where Pan, knit with the Graces_ [‘while universal Pan.’] _Paradise
Lost_, IV. 266.

_There are more things between_ [in] _heaven and earth_. _Hamlet_, I.
5.

179. _Matchless, divine, what we will._ Pope, _Imitations of Horace_,
Epis. I., Book II. 70.

180. _Less than smallest dwarfs._ _Paradise Lost_, I. 779.

_Desiring this man’s art._ Shakspeare’s _Sonnets_, XXIV. 7.

_In shape and gesture proudly eminent._ _Paradise Lost_, I. 590.

_His soul was like a star._ Wordsworth’s _London_, 1802.

181. _Drew after him._ _Paradise Lost_, II. 692.

_Otway ... Venice Preserved._ Thomas Otway’s (1651–85) play was
published in 1682.

_Jonson’s learned sock._ Milton’s _L’Allegro_.

183. _To run and read._ _Habakkuk_, ii. 2.

_Penetrable stuff._ _Hamlet_, III. 4.

_My peace I give unto you_ [‘not as the world giveth.’] _St. John_,
xiv. 27.

_That they should love one another._ _Ibid._ XV. 12.

184. _Woman behold thy son._ _Ibid._ XIX. 26–7.

_To the Jews._ _1 Cor._ I. 23.

185. _Soft as sinews of the new-born babe._ _Hamlet_, III. 3.

_The best of men._ Dekker’s _The Honest Whore_. Part I. Act V. 2.

186. _Tasso by Fairfax._ Edward Fairfax’s translation of _Jerusalem
Delivered_ was published in 1600.

_Ariosto by Harrington._ Sir John Harington’s translation of _Orlando
Furioso_ was published in 1591.

_Homer and Hesiod by Chapman._ A part of George Chapman’s translation
of Homer’s _Iliad and Odyssey_ appeared in 1598 and the rest at
various dates to 1615; _Hesiod_ in 1618.

_Virgil long before._ Possibly Gawin Douglas’s version of the _Æneid_
(1512–53) is in mind.

_Ovid soon after._ (?) Arthur Golding’s _Ovid_ (1565–75).

_North’s translation of Plutarch._ In 1579, by Sir Thomas North.

_Catiline and Sejanus._ Acted in 1611 and 1603 respectively.

_The satirist Aretine._ Pietro Aretino (1492–1557), the ‘Scourge of
Princes.’ _Machiavel._ _The Arte of Warre_ and _The Florentine
Historie_ appeared in English in 1560 and 1594 respectively.

_Castiglione._ Count Baldasare Castiglione’s _Il Cortegiano_, a Manual
for Courtiers, was translated in 1561 by Sir Thomas Hoby.

_Ronsard._ Pierre de Ronsard (1524–85), ‘Prince of Poets.’

_Du Bartas._ Guillaume de Saluste Seigneur du Bartas (1544–1590),
soldier, statesman and precursor of Milton as a writer on the theme of
creation. His ‘Diuine Weekes and Workes’ were Englished in 1592 and
later by ‘yt famous Philomusus,’ Joshua Sylvester (1563–1618). See Dr.
Grosart’s edition of his works.

187. _Fortunate fields and groves, etc._ _Paradise Lost_, III. 568–70.

_Prospero’s Enchanted Island._ Modern editors give Eden’s _History of
Travayle_, 1577, as the probable source of Setebos, etc.

_Right well I wote._ _The Faerie Queene_, Stanzas I.–III.

188. _Lear ... old ballad._ Or rather from Geoffrey of Monmouth’s
_Historia Britonum_, c. 1130. The ballad of _King Leir_ (Percy’s
_Reliques_) is probably of later date than Shakespeare.

_Othello ... Italian novel._ The Heccatommithi of Giraldi Cinthio. The
work may have been known in England through a French translation.

_Those bodiless creations._ _Hamlet_, III. 4.

_Your face, my Thane._ _Macbeth_, I. 5.

_Tyrrel and Forrest._ In _King Richard III._

189. _Thick and slab._ _Macbeth_, IV. 1.

_Snatched a_ [wild and] _fearful joy_. Gray’s _Ode on a Distant
Prospect of Eton College_.

_The great pestilence of Florence._ In 1348. The plague forms but the
artificial framework of the tales; to escape it certain Florentines
retire to a country house and, in its garden, they tell the tales that
form the book.

_The course of true love never did run even_ [smooth.] _A Midsummer
Night’s Dream_, I. 1.

_The age of chivalry._ ‘The age of chivalry is gone ... and the glory
of Europe is extinguished for ever.’ Burke’s _Reflections on the
French Revolution_. Select Works, ed. Payne, II. 89.

_The gentle Surrey._ Henry Howard, Earl of Surrey (_c._ 1517–1547)
whose Songs and Sonnets are in Tottel’s _Miscellany_ (1557).

_Sir John Suckling_, 1609–42. Besides writing _A ballad upon a
wedding_ Sir John was the best player at bowls in the country and he
‘invented’ cribbage.

_Who prized black eyes._ _The Session of the Poets_, Ver. 20.

_Like strength reposing._ ‘’Tis might half slumbering on it own right
arm.’

Keats’ _Sleep and Poetry_, 237.

190. _They heard the tumult._ Cowper’s _The Task_, IV. 99–100.

‘I behold
The tumult and am still.’

_Fletcher’s Noble Kinsmen._ _The Two Noble Kinsmen_, 1634. Although
Fletcher was certainly one of the two authors of the play, it is not
known who was the other. Scenes have been attributed, with some
probability, to Shakespeare.

_The Return from Parnassus._ 1606. See _post_, p. 280.

_It snowed of meat and drink._ _Canterbury Tales_, Prologue, 345.

_As Mr. Lamb observes._ Cf. _Specimens of English Dramatic Poets_,
Lamb’s note attached to Marston’s _What you will_.

191. _In act and complement_ [compliment] _extern_. _Othello_, I. 1.

_Description of a madhouse._ In _The Honest Whore_, Part I. Act V. 2.

_A Mad World, my Masters._ The title of one of Middleton’s comedies,
1608.

_Like birdlime, brains and all._ _Othello_, II. 1.

‘My invention
Comes from my pate as birdlime does from frize;
It plucks out brains and all.’

192. _But Pan is a God._ Lyly’s _Midas_, Act IV. 1.

_Materiam superabat opus._ Ovid, _Met._, II. 5.

II. ON LYLY, MARLOW, ETC.

It is not possible to give references to thoroughly satisfactory texts of the Elizabethan dramatists for the simple reason that, unfortunately, few exist. For reading purposes the volumes of select plays in ‘The Mermaid Series’ and a few single plays in ‘The Temple Dramatists’ may be mentioned.

PAGE

192. _The rich strond._ _The Faerie Queene_, III. iv. 20, 34.

193. _Rich as the oozy bottom._ _King Henry V._, I. 2. [‘sunken
wreck.’]

_Majestic though in ruin._ _Paradise Lost_, II. 300.

_The Cave of Mammon._ _The Faerie Queene_, II. vii. 29.

_New-born gauds, etc._ _Troilus and Cressida_, III. 3.

_Ferrex and Porrex._ By Thomas Norton (1532–1584), and Thomas
Sackville, Lord Buckhurst (1536–1608). Acted Jan. 18, 1561–2.

194. _No figures nor no fantasies._ _Julius Caesar_, II. 1.

195. _Sir Philip Sidney says._ In his _Apologie for Poetrie_.

196. _Mr. Pope ... says._ See Spence, Letter to the Earl of Middlesex,
prefixed to Dodsley’s edition of _Gorboduc_.

_His Muse._ Thomas Sackville wrote the Induction (1563).

_John Lyly._ The Euphuist (c. 1554–1606), a native of the Kentish
Weald. _Midas_ (1592), _Endymion_ (1591), _Alexander and Campaspe_
(1584), _Mother Bombie_ (1594).

198. _Poor, unfledged._ _Cymbeline_, III. 3.

_Very_ [most] _tolerable_. _Much Ado about Nothing_, III. 3.

_Grating their lean and flashy jests._ _Lycidas_, 123–4.

‘their lean and flashy songs
Grate on their scrannel pipes of wretched straw.’

_Bobadil._ Captain Bobadil, in _Every Man in his Humour_.

199. _The very reeds bow down._ Act IV. 2.

_Out of my weakness._ _Hamlet_, II. 2.

_It is silly sooth._ _Twelfth Night_, II. 4.

201. _Did first reduce._ Elegy to Henry Reynolds, Esquire, 91 _et
seq._

_Euphues and his England._ _Euphues: The Anatomy of Wit_, appeared in
1579 and _Euphues and his England_ the year following. They may be
read in Arber’s reprint.

_Pan and Apollo._ _Midas_, IV. 1.

202. _Note._ Marlowe died in 1593. He was stabbed in a tavern quarrel
at Deptford.

_Life and Death of Doctor Faustus._ Printed 1604, 1616. See the
editions of Dr. A. W. Ward and Mr. Israel Gollancz. The latter is a
‘contamination’ of the two texts.

202. _Fate and metaphysical aid._ _Macbeth_, I. 5.

203. _With uneasy steps._ _Paradise Lost_, I. 295.

_Such footing_ [resting.] _Paradise Lost_, I. 237–8.

_How am I glutted._ _Life and Death of Doctor Faustus_, Scene I.
[public schools with silk.]

205. _What is great Mephostophilis._ Scene III.

_My heart is harden’d._ Scene VI.

_Was this the face?_ Scene XVII.

206. _Oh, Faustus._ Scene XIX.

_Yet, for he was a scholar._ And the next quotation. Scene XX.

207. _Oh, gentlemen?_ Scene XIX.

_Snails! what hast got there._ Cf. Scene VIII.

‘Come, what dost thou with that same book?
Thou can’st not read.’

_As Mr. Lamb says._ Lamb’s _Specimens of English Dramatic Poets_, ed.
Gollancz, Vol. I. p. 43. (Published originally in 1808).

_Lust’s Dominion._ Published 1657. The view now seems to be that
Dekker had a hand in it: in the form in which we have it it cannot be
Marlowe’s. See also W. C. Hazlitt’s _Manual of Old Plays_, 1892.

_Pue-fellow_ [pew-fellow.] _Richard III_, IV. 4.

_The argument of Schlegel._ Cf. _Lectures on Dramatic Art and
Literature_ (Bohn, 1846), pp. 442–4.

208. _What, do none rise?_ Act V. 1.

_Marlowe’s mighty line._ The phrase is Ben Jonson’s, in his lines ‘To
the Memory of my Beloved Master William Shakespeare, and what he hath
left us,’ originally prefixed to the First Folio of Shakespeare, 1623.

_I know he is not dead._ _Lust’s Dominion_, I. 3.

_Hang both your greedy ears_, and the next quotation. _Ibid._ Act II.
2.

_Tyrants swim safest._ Act V. 3.

209. _Oh! I grow dull._ Act III. 2.

_And none of you._ _King John_, V. 7.

_Now by the proud complexion._ _Lust’s Dominion_, Act III. 4.

_But I that am._ _Antony and Cleopatra_, I. 5.

_These dignities._ _Lust’s Dominion_, Act V. 5.

_Now tragedy._ Act V. 6.

_Spaniard or Moor._ Act V. 1.

_And hang a calve’s [calf’s] skin._ _King John_, III. 1.

_The rich Jew of Malta._ _The Jew of Malta_, acted 1588.

209. Note _Falstaff_. Cf. ‘minions of the moon,’ _1 King Henry IV._,
I. 2.

210. _The relation._ Act II. 3.

_As the morning lark._ Act II. 1.

_In spite of these swine-eating Christians._ Act II. 3.

_One of Shylock’s speeches._ _Merchant of Venice_, Act I. 3.

211. _Edward II._ 1594.

_Weep’st thou already?_ Act V. 5.

_The King and Gaveston._ Cf. Act I. 1.

_The lion and the forest deer._ Act V. 1.

_The Song._ See p. 298 and note.

212. _A Woman killed with Kindness._ 1603.

_Oh, speak no more._ Act II. 3.

_Cold drops of sweat._ Act III. 2.

_Astonishment._ Act IV. 4.

213. _Invisible, or dimly seen._ _Paradise Lost_, V. 157.

_Fair, and of all beloved._ Act II. 3.

_The affecting remonstrance._ Act V. 5.

_The Stranger._ Benjamin Thompson’s (1776?–1816) translation of
Kotzebue’s (1761–1819) _Menschenhass und Reue_.

_Sir Giles Over-reach._ In Massinger’s _A New Way to Pay Old Debts_.

214. _This is no world in which to pity men._ _A Woman killed with
Kindness_, Act III. 3 (ed. Dr. Ward).

_His own account._ See his address ‘To the Reader’ in _The English
Traveller_, printed 1633.

_The Royal King and Loyal Subject._ 1637.

_A Challenge for Beauty._ 1636.

_Shipwreck by Drink._ Act II. 1.

_Fair Quarrel._ 1617.

_A Woman never Vexed._ 1632.

_Women beware Women._ 1657.

215. _She holds the mother in suspense._ Act II. 2.

_Did not the Duke look up?_ Act I. 3.

216. _How near am I._ Act III. 1.

218. _The Witch._ No date can be given for this play.

_The moon’s a gallant._ Act III. 3. [‘If we have not mortality after
‘t’] [‘leave me to walk here.’]

220. _What death is ‘t you desire?_ Act V. 2.

222. _Mr. Lamb’s Observations._ The same extract from the _Specimens_
is quoted in _Characters of Shakespear’s Plays_, vol. I. p. 194
[cannot co-exist with mirth.]

III. ON MARSTON, CHAPMAN, ETC.

223. _Blown stifling back._ _Paradise Lost_, XI. 313.

224. _Monsieur Kinsayder._ This was the _nom-de-plume_ under which
John Marston published his _Scourge of Villanie_, 1598.

_Oh ancient Knights._ Sir John Harington’s translation of _Orlando
Furioso_ was published in 1591.

_Antonio and Mellida._ 1602.

225. _Half a page of Italian rhymes._ Part I. Act IV.

_Each man takes hence life._ Part I. Act III.

_What you Will._ 1607.

_Who still slept._ Act II. 1.

_Parasitaster and Malcontent._ _Parasitaster; or The Fawn_, 1606. _The
Malcontent_, 1604.

226. _Is nothing, if not critical._ _Othello_, II. 1.

_We would be private._ _The Fawn_, Act II. 1.

_Faunus, this Granuffo._ Act III.

227. _Though he was no duke._ Act II. 1.

_Molière has built a play._ _L’École des Maris._

_Full of wise saws._ _As You Like It_, Act II. 7.

228. _Nymphadoro’s reasons._ _The Fawn_, Act III.

_Hercules’s description._ Act II. 1.

_Like a wild goose fly._ _As You Like It_, II. 7.

230. _Bussy d’Ambois._ 1607.

_The way of women’s will._

‘It is not virtue, wisdom, valour, wit,
Strength, comeliness of shape, or amplest merit,
That woman’s love can win, or long inherit,
But what it is hard is to say,
Harder to hit....’
_Samson Agonistes_, 1010 _et seq._

_Hide nothing._ _Paradise Lost_, I. 27.

231. _Fulke Greville._ Lord Brooke (1554–1628). _Alaham and Mustapha_
were published in the folio edition of Brooke, 1633. He was the school
friend, and wrote the Life, of Sir Philip Sidney. His self-composed
epitaph reads, ‘Fulke Grevill, servant to Queene Elizabeth, councellor
to King James, frend to Sir Philip Sidney.’ See Hazlitt’s Essay ‘Of
Persons one would wish to have seen.’

_The ghost of one of the old kings._ _Alaham._

_Monsieur D’Olive._ 1606.

_Sparkish._ In Wycherley’s _Country Wife_ (1675).

_Witwoud and Petulant._ In Congreve’s _The Way of the World_ (1700).

234. _May-Day._ 1611.

_All Fools._ 1605.

_The Widow’s Tears._ 1612.

_Eastward Hoe._ 1605. Ben Jonson accompanied his two friends to prison
for this voluntarily. Their imprisonment was of short duration.

_On his release from prison._ See Drummond’s Conversations, XIII.

_Express ye unblam’d._ Paradise Lost, III. 3.

_Appius and Virginia._ Printed 1654.

_The affecting speech._ _I.e._ that of Virginius to Virginia, Act IV.
1.

_Wonder of a Kingdom._ Published 1636.

_Jacomo Gentili._ In the above play.

_Old Fortunatus._ 1600.

235. _Vittorio Corombona._ _The White Devil_, 1612.

_Signior Orlando Friscobaldo._ In _The Honest Whore_, Part II., 1630.

_The red-leaved tables._ Heywood’s _A Woman killed with Kindness_, Act
II. 3.

_The pangs._ Wordsworth’s _Excursion_, VI. 554.

_The Honest Whore._ In two Parts, 1604 and 1630.

_Signior Friscobaldo._ The Second Part, Act I. 2.

237. _You’ll forgive me._ The Second Part, Act II. 1.

_It is my father._ The Second Part, Act IV. 1.

_Oh! who can paint._

238. _Tough senior._ _Love’s Labour’s Lost_, Act I. 2.

_And she has felt them knowingly._ _Cymbeline_, III. 3.

_I cannot._ _The Honest Whore_, Second Part, Act IV. 1.

239. _The manner too._ The Second Part, Act III. 1.

_I’m well._ The First Part, Act I. 3 [‘midst of feasting’].

_Turns them._ _II. Henry IV._, I. 2.

_Patient Grizzel._ Griselda in Chaucer’s _Clerke’s Tale_. Dekker
collaborated in a play entitled _The Pleasant Comedy of Patient
Grissill_ (1603).

_The high-flying._ _The Honest Whore_, Second Part, Act II. 1. etc.

240. _White Devil._ 1612.

_Duchess of Malfy._ 1623.

_By which they lose some colour._ Cf. _Othello_, I. 1. ‘As it may lose
some colour.’

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._