PAGE

arrested any of the two companies who was refractory to the managers, at his pleasure. Dogget was brought up in this manner from Norwich, by two constables but Dogget being a whig, and a surly fellow, got a Habeas Corpus, and the Master of the Revels was driven from the field.' Edward Kynaston (1640-1706) was beaten more than once at the instance of Sir Charles Sedley whom he impersonated on the stage. For the story of the Lord-Chamberlain and Dogget, see Cibber's Apology (Chap. x.).

158. Sir Harry Wildair. Farquhar's Sir Harry Wildair, a continuation of The Constant Couple, was produced in 1701.

"The Jew that Shakespeare drew.' This is an exclamation (attributed to Pope) overheard at one of Macklin's representations of Shylock.

As often as we are pleased. The following passage from The Examiner is omitted by Hazlitt: We have no curiosity about things or persons that we never heard of. Mr. Coleridge professes in his Lay Sermon to have discovered a new faculty, by which he can divine the future. This is lucky for himself and his friends, who seem to have lost all recollection of the past.' Hazlitt here refers to The Statesman's Manual; or, The Bible the best guide to political skill and foresight: A Lay Sermon, addressed to the Higher Classes of Society (1816), known as the first Lay Sermon. Hazlitt wrote two notices of it in The Examiner, one of which (September 8, 1816) was based merely on newspaper announcements of its forthcoming appearance (see Political Essays); and probably, as Coleridge believed, reviewed it in the Edinburgh Review for December 1816.

Players, after all, etc. This passage to the end of the paragraph is from a "Theatrical Examiner,' January 14, 1816.

Actors have been accused, etc. The whole of this paragraph is taken from a "Theatrical Examiner,' March 31, 1816.

"The web of our life, etc.

All's Well that Ends Well, Act Iv. Scene 3.

Richard III., Act ш. Scene 4.

159. Like the giddy sailor, etc. A neighbouring country. Hazlitt probably refers to France where the disqualifications of actors had only recently been removed by the Revolution government. For an account of ecclesiastical intolerance towards actors, especially in France, see Lecky's The Rise and Influence of Rationalism in Europe, 11. 316 et seq. "A consummation, etc. "The wine of life, etc.

Hamlet, Act III. Scene 1.
Macbeth, Act 11. Scene 3.

160. Hurried from fierce extremes,' etc.

and feel by turns the bitter change

Of fierce extremes, extremes by change more fierce,' etc.

Paradise Lost, II. 599 et seq.

The strolling player in Gil Blas.' Gil Blas, Liv. 11. Chap. viii.

WHY THE ARTS ARE NOT PROGRESSIVE: A FRAGMENT

In The Morning Chronicle for January 11 and 15, 1814, Hazlitt published two papers entitled "Fragments on Art. Why the Arts are not progressive?' Later in the year he contributed two papers to The Champion (August 28, 1814, and September 11, 1814) under the heading "Fine Arts. Whether they are promoted by Academies and Public Institutions?' and in a letter (October 2) replied to the criticisms of a correspondent. The present 'Fragment' is composed of (1) the first of the articles in The Morning Chronicle and part of the second, and (2) part of the

second article in The Champion. Much of the matter of the present essay is embodied in Hazlitt's article on the Fine Arts, contributed to the Encyclopædia Britannica.

PAGE

160. It is often made a subject, etc. The first three paragraphs are taken from The Morning Chronicle, January 11, 1814. In The Champion for August 28, 1814, the first two paragraphs appear as a quotation from a contemporary critic.' Antaus. The story of Antæus the giant is referred to by Milton (Paradise Regained, 1v. 563 et seq.).

161. Nothing is more contrary, etc. This paragraph and part of the next are repeated at the beginning of the Lecture on Shakspeare and Milton in Lectures on the English Poets. 162. Guido. Substituted for Claude Lorraine, upon whom, in The Morning Chronicle, Hazlitt has the following note: In speaking thus of Claude, we yield rather to common opinion than to our own. However inferior the style of his best landscapes may be, there is something in the execution that redeems all defects. In taste and grace nothing can ever go beyond them. He might be called, if not the perfect, the faultless painter. Sir Joshua Reynolds used to say, that there would be another Raphael, before there was another Claude. In Mr. Northcote's Dream of a Painter (see his Memoirs of Sir Joshua Reynolds), there is an account of Claude Lorraine, so full of feeling, so picturesque, so truly classical, so like Claude, that we cannot resist this opportunity of copying it out.' The passage quoted from Northcote is the paragraph beginning, "Now tired with pomp and splendid shew.' See Northcote's Varieties on Art (The Dream of a Painter) in his Memoirs of Sir Joshua Reynolds, etc. (1813-1815) p. xvi.

"The human face divine. Paradise Lost, 111. 44.

'Circled Una's angel face, etc. The Faerie Queene, Book 1. Canto iii. st. 4.
Griselda. See The Canterbury Tales (The Clerk's Tale).

The Flower and the Leaf. This poem, a great favourite of Hazlitt's, is not
now attributed to Chaucer.

163. The divine story of the Hawk. The Decameron (Fifth Day, Novel Ix.). Hazlitt continually refers to the story.

Isabella. The Decameron (Fourth Day, Novel v.).

So Lear, etc. King Lear, Act II. Scene 4.

Titian. The picture referred to is one of those which Hazlitt copied while he
was studying in the Louvre in 1802. See Memoirs of William Hazlitt, 1. 88.
He frequently mentions it.

Nicolas Poussin. 'But, above all, who shall celebrate, in terms of fit praise,
his picture of the shepherds in the Vale of Tempe going out in a fine
morning of the spring, and coming to a tomb with this inscription :-Et ego
in Arcadia vixi!' (Table-Talk, 'On a Landscape of Nicolas Poussin.")
In general, it must happen, etc. The two concluding paragraphs are taken from
The Champion, September 11, 1814.

Current with the world. The following passage in The Champion is here
omitted: Common sense, which has been sometimes appealed to as the
criterion of taste, is nothing but the common capacity, applied to common
facts and feelings; but it neither is nor pretends to be, the judge of any
thing else. To suppose that it can really appreciate the excellence of
works of high art, is as absurd as to suppose that it could produce them.'
Count Castiglione. Baldassare Count Castiglione (1478-1529), whose famous
Il Cortegiano was translated into English by Sir Thomas Hoby under the
title of The Courtyer' (1561).

PAGE.

CHARACTERS OF SHAKESPEAR'S PLAYS

171. It is observed by Mr. Pope. Ed. Elwin and Courthope, vol. x. pp. 534-535. A gentleman of the name of Mason. Neither George Mason (1735-1806), author of An Essay on Design in Gardening, 1768, nor John Monck Mason (1726-1809), Shakespearian commentator, is the author of the work alluded to by Hazlitt, but Thomas Whately (d. 1772) whose Remarks on some of the Characters of Shakespere was published after Thomas Whately's death by his brother, the Rev. Jos. Whately, in 1785, as 'by the author of Observations on Modern Gardening' [1770]; a second edition was published in 1808 with the author's name on the title-page, and a third in 1839, edited by Archbishop Whately, Thomas Whately's nephew.

Richardson's Essays. Essays on Shakespeare's Dramatic Characters. 1774-1812.
By William Richardson (1743-1814).
Schlegel's Lectures on the Drama.

A Course of Lectures on Dramatic Art and Literature. By A. W. von Schlegel. Delivered at Vienna in 1808. English translation, by John Black, in 1815. The quotation which follows will be found in Bohn's one vol. edition, 1846, pp. 363-371, and the further references given in these notes are to the same edition. 174. to do a great right. Mer. Ven. IV. 1.

'alone is high fantastical?

Twelfth Night, 1. 1.

175. Dr. Johnson's Preface to his Edition of Shakespear. 1765. swelling figures.' Dr. Johnson's Preface.

1821, vol. i. p. 75.

176. Dover cliff in LEAR, Act Iv. 6.

flowers in THE WINTER'S TALE, Act iv. 4.

See Malone's Shakespeare,

Congreve's description of a ruin in the MOURNING BRIDE, Act 11. 1.

177. the sleepy eye of love. Cf. The sleepy eye that spoke the melting soul.' Pope, Imit. 1st Epis. 2nd. Bk. Horace, 1. 150.

In his tragic scenes.

His declamations, etc.

But the admirers, etc.

Dr. Johnson's Preface, p. 71.

Ibid., p. 75.

Ibid., p. 75.

178. in another work, The Round Table. See pp. 61-64.

CYMBELINE

When the name of the Play is not given it is to be understood that the reference is to the Play under discussion. Differences between the text quoted by Hazlitt and the text of the Globe Shakespeare which seem worth pointing out are indicated in square brackets.

PAGE

179. Dr. Johnson is of opinion. Dr. Johnson's Preface, p. 73.

180. Cibber, in speaking of the early English stage. Apology for the Life of Mr. Colley Cibber (1740), vol. i. chap. iv.

181. My lord, Act 1. 6.

What cheer, Act II. 4. The six following quotations in the text are in the

same scene.

182. My dear lord, Act 111. 6.

And when with wild wood-leaves and with fairest flowers, Act 1v. 2.

183. Cytherea, how bravely, Act 11. 2.

Me of my lawful pleasure, Act 11. 5.

PAGE

Whose love-suit, Act II. 4.

the ancient critic, Aristophanes of Byzantium. 184. Out of your proof, Act 111. 3.

185. The game's a-foot [is up], Act 111. 3.
under the shade. As You Like It, Act 11. 7.
See, boys! Act III. 3.

Nay, Cadwell, Act iv. 2.

186. Stick to your journal course, Act IV. 2. creatures and Your Highness, Act 1. 5.

186. The poet's eye.

MACBETH

A Midsummer Night's Dream, Act v. 1.

your only tragedy-maker. It would be better to italicise only 'tragedy': the reference is probably to Hamlet, 111. 2, 'your only jig-maker.'

the air [heaven's breath] smells wooingly and the temple-haunting marilet builds [does approve by his loved mansionry], Act 1. 6.

187. the blasted heath, Act 1. 3.

air-drawn dagger, Act 111. 4.
gracious Duncan, Act 111. 1.

blood-boultered Banquo, Act Iv. I.
What are these, Act 1. 3.

bends up, Act 1. 7.

The deed [The attempt and not the deed confounds us], Act II. 2.

preter [super]natural solicitings, Act 1. 3.

188. Bring forth and screw his courage, Act 1. 7.

lost so poorly and a little water, Act 11. 2.

the sides of his intent, Act 1. 7.

for their future days and his fatal entrance, Act 1. 5.

Come all you spirits, Act 1. 5.

189. Duncan comes there, Act 1. 5. The two following quotations in the text are in the same scene.

Mrs. Siddons. Sarah Siddons (1755-1831). It was as Lady Macbeth that
Mrs. Siddons made her 'last' appearance on the stage, June 29, 1812.
She returned occasionally, and Hazlitt saw her act the part at Covent
Garden, June 7, 1817. See note to p. 156, and also Hazlitt's A View of
the English Stage.

190. There is no art, Act 1. 4.

How goes the night, Act II. 1.

Light thickens, Act 111. 2-3.

191. So fair and foul, Act 1. 3.

Such welcome and unwelcome news together [things at once] and Men's lives,
Act IV. 3.

Look like the innocent flower, Act 1. 5.

To him and all [all and him], Avaunt, and himself again, Act 111. 4.

he may sleep, Act IV. I.

Then be thou jocund, Act III. 2.

Had he not resembled, Act 11. 2.

they should be women, and in deeper consequence, Act 1. 3.

192. Why stands Macbeth, Act IV. 1.

the milk of human kindness, Act 1. 5.

himself alone. The Third Part of King Henry VI., Act v. 6.
For Banquo's issue, Act 111. 1.

subject [servile] to all the skyey influences. Measure for Measure, Act 111. I.
My way of life, Act v. 3.

194. the Beggar's Opera,' by John Gay (1685-1732), first acted January 29, 1728. See The Round Table, pp. 65-66.

Lillo's murders. George Lillo, dramatist (1693-1739), author of Fatal Curiosity and George Barnwell. See note to p. 154.

Lamb's Specimens of Early [English] Dramatic Poets, 1808. See Gollancz's edition, 2 vols., 1893, vol. 1. pp. 271-272.

the Witch of Middleton. Thomas Middleton (?1570-1627). It is not known whether the date of the Witch is earlier or later than that of Macbeth.

JULIUS CÆSAR

195. the celebrated Earl of Hallifax. Charles Montague, Earl of Halifax (1661-1715), poet and statesman. King and no King, licensed 1611, printed 1619; Secret Love, or, the Maiden Queen, first acted 1667, printed the following year.

Thou art a cobler [but with awl. I] and Wherefore rejoice, Act 1. 1.

196. once upon a raw and The games are done, Act 1. 2.

197. And for Mark Antony, and 0, name him not, Act II. 1.

198. This disturbed sky, Act 1. 3.

All the conspirators, Act v. 5.

How 'scaped I killing, Act 1v. 3.

You are my true, Act II. 1.

199. They are all welcome and It is no matter, Act II. 1.

OTHELLO

200. tragedy purifies the affections by terror and pity, Aristotle's Poetics.

It comes directly home, Dedication to Bacon's Essays.

The picturesque contrasts. The germ of this paragraph may be found in The Examiner (The Round Table, No. 38), May 12th, 1816. The paper there indexed as Shakespeare's exact discrimination of nearly similar characters was used in the preparation of Othello, Henry IV. and Henry VI. in the Characters of Shakespear's Plays.

202. flows on to the Propontic, Act 111. 3.

the spells, Act 1. 3.

What! Michael Cassio? and If she be false, Act 1. 3.

I will, my Lord, Act Iv. 3.

205. her visage. Cf. 'I saw Othello's visage in his mind,' Act 1. 3.

A maiden never bold, Act 1. 3.

Tempests themselves, Act 11. 1.