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. Dr. Johnson's Preface.

'swelling figures.'

1821, vol. i. p. 75.

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

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

1765.

See Malone's Shakespeare,

Congreve's description of a ruin in the MOURNING BRIDE, Act II. 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. Dr. Johnson's Preface, p. 71.

His declamations, etc.

But the admirers, etc.

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 III. 4. The six following quotations in the text are in the

same scene.

182. My dear lord, Act 11. 6.

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

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

Me of my lawful pleasure, Act 11. 5.

PAGE

Whose love-suit, Act III. 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 II. 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 martlet 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 11. 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. I.

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 111. 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. I.

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 III. 1.

subject [servile] to all the skyey influences. Measure for Measure, Act III. 1.
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 the Maiden Queen, first acted 1667, printed the following year.

Love, or,

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 11. 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 11. 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 III. 3.

the spells, Act 1. 3.

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

203. Look where he comes, Act III. 3.

The four following quotations in the text

and footnote are in the same scene.

[I found not Cassio's kisses

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 II. 1.

PAGE

205. She is subdued and honours and his valiant parts, Act 1. 3.

Ay, too gentle, Act iv. 1.
remained at home, Act 1. 3.

Alas, Iago, Act Iv. 2.

206. Would you had never seen him, Act Iv. 3.

Some persons. See The Round Table, p. 15.

207. Our ancient, Dram. Per. 'Iago, his ancient.'

What a full fortune, and Here is her father's house, Act 1. 1.

208. I cannot believe, Act II. 1.

And yet how nature, Act 111. 3.

the milk of human kindness. Macbeth, Act 1. 5.

relish of salvation. Hamlet, Act 111. 3.

Oh, you are well tuned now, Act 11. 1.

My noble lord, Act ш. 3.

209. O grace! O Heaven forgive [defend] me, Act 1. 3.

How is it, General, Act iv. I.

Zanga. See The Revenge, by Edward Young (1683-1765), first acted 1721.

TIMON OF ATHENS

210. Follow his strides, Act 1. 1.

211. What, think'st thou, Act iv. 3 [moss'd trees].

A thing slipt, Act 1. 1.

Ugly all over with hypocrisy. Cf. He is ugly all over with the affectation of the fine gentleman.' Quoted by Steele from Wycherley, The Tatler, No. 38. 212. This yellow slave, Act iv. 3.

Let me look, Act Iv. 1.

213. What things in the world, Act iv. 3.

loved few things better, Act 1. 1.

Come not to me, Act v. I.

These well express, Act v. 4.

CORIOLANUS

214. no jutting frieze and to make its pendant bed. Macbeth, Act 1, 6.

it carries noise, Act 11. 1.

Carnage is its daughter. See Wordsworth's Ode, No. XLV. of Poems dedicated to National Independence and Liberty,ed. Hutchinson, 1895. The line was altered by Wordsworth in 1845. See also Byron's Don Juan, Canto viii. Stanza 9. 215. poor [these] rats, Act 1. 1.

as if he were a God, Act II. 1.

Mark you and cares, Act III. 1.

216. Now the red pestilence, Act Iv. 1.

217. Methinks I hither hear, Act 1. 3 [At Grecian sword, contemning].

These are the ushers, Act 11. 1

Pray now, no more, Act 1. 9.

218. The whole history. The sentence quoted is by Pope. See Malone's Shakespeare, 1821, vol. xiv.

TROILUS AND CRESSIDA

221.

Troy, yet upon her basis, Act 1. 3.

222. without o'erflowing full. Said of the Thames in Cooper's Hill, by Sir John

Denham (1615-1669).

PAGE

222. of losing distinction in his thoughts [joys] and As doth a battle, Act 111. 2. 223. Time hath, my lord, Act. III. 3.

224. Why there you touch'd, Act 11. 2. Come here about me, Act v. 7.

Go thy way, Act 1. 2.

It is the prettiest villain, Act 111. 2.

225. the web of our lives. All's Well that Ends Well, Act iv. 3.

He hath done, Act v. 5.

226. Prouder than when, Act 1. 3.

like the eye of vassalage, Act 111. 2 [like vassalage at unawares encountering the eye of majesty].

And as the new abashed nightingale, Chaucer's Troilus and Criseyde, Book II.

177.

227. Her armes small. Ibid., 179.

O that I thought, Act 111. 2.

Rouse yourself, Act II. 3.

What proffer'st thou, Chaucer's Troilus and Criseyde, Book 111. 209.

ANTONY AND CLEOPATRA

228. like the swan's down-feather, Act 1. 2.

If it be love indeed, Act 1. 1.

229. The barge she sat in, Act 11. 2.

like a doating mallard, Act 111. 10.

He's speaking now, Act 1. 5.

It is my birthday and To let a fellow, Act. 11. 13.

Age cannot wither, Act. 11. 2 [stale].

There's gold, Act. 11. 5.

230. Dost thou not see, Act v. 2.

Antony, leave thy lascivious wassels, Act 1. 4. [For Mutina read Modena.]

Yes, yes, Act II. II.

231. Eros, thou yet behold'st me, Act iv. 14.

I see men's judgments, Act 11. 13.

232. a master-leaver, Act iv. 9.

HAMLET

232. this goodly frame and man delighted not, Act 11. 2.

too much i' th' sun. Cf. Act 11. 2.

the pangs of despised love, Act II. 1.

233. the outward pageants. Cf. the trappings and the suits of woe, Act 1. 2.

we have that within, Act 1. 2.

234. that has no relish of salvation and He kneels and prays [now might I do it pat,

now he is praying], Act 111. 3.

How all occasions, Act IV. 4 [fust in us].

235. Whole Duty of Man, 1659, a once-popular ethical treatise of unknown authorship.

Academy of Compliments, or the whole Art of Courtship, being the rarest and most exact way of wooing a Maid or Widow, by the way of Dialogue or complimental Expressions. London, 12mo. Academies of Compliments were also published in 1655 and 1669.