Book II: "Because _true Historie_ representeth Actions and Euents more

ordinarie and lesse interchanged, therefore _Poesie_ endueth them with more Rarenesse and more vnexpected and alternatiue Variations: So as it appeareth that _Poesie_ serueth and conferreth to Magnanimitie, Moralitie, and to delectation. And therefore it was euer thought to haue some participation of diuinesse, because it doth raise and erect the Minde, by submitting the shewes of things to the desires of the Mind, whereas reason doth buckle and bowe the Mind unto the Nature of things."

P. 255. _Our eyes are made the fools_. "Macbeth," ii, 1, 44.

_That if it would_. "Midsummer Night's Dream," v, 1, 19.

_The flame o' th' taper_. "Cymbeline," ii, 2, 19.

P. 256. _for they are old_. Cf. "Lear," ii, 4, 194.

_Nothing but his unkind daughters_. Cf. "King Lear," iii, 4, 72:

"Nothing could have subdued nature To such a lowness but his unkind daughters."

P. 257. _The little dogs_. Ibid., iii, 6, 65.

_So I am_. Ibid., iv, 7, 70.

_O now, for ever_. "Othello," iii, 3, 347.

_Never, Iago_. Ibid., iii, 3, 453.

P. 258. _But there_. Ibid., iv, 2, 57.

_To be discarded thence!_ The first edition at this point adds: "This is like that fine stroke of pathos in 'Paradise Lost,' where Milton makes Adam say to Eve,

'Should God create another Eve, and I Another rib afford, yet loss of thee Would never from my heart!'"

_Impassioned poetry is an emanation of the moral and intellectual part of our nature._ Cf. "On People of Sense" in "Plain Speaker": "Poetry acts by sympathy with nature, that is, with the natural impulses, customs, and imaginations of men, and is, on that account, always popular, delightful, and at the same time instructive. It is nature moralizing and _idealizing_ for us; inasmuch as, by shewing us things as they are, it implicitly teaches us what they ought to be; and the grosser feelings, by passing through the strainers of this imaginary, wide-extended experience, acquire an involuntary tendency to higher objects. Shakspeare was, in this sense, not only one of the greatest poets, but one of the greatest moralists that we have. Those who read him are the happier, better, and wiser for it."

_Moore_, Edward (1712-1757), author of "The Gamester" (1753).

P. 259. _As Mr. Burke observes_, in "A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful," Part I, Section 15: "Choose a day on which to represent the most sublime and affecting tragedy we have; appoint the most favourite actors; spare no cost upon the scenes and decorations; unite the greatest efforts of poetry, painting, and music; and when you have collected your audience, just at the moment when their minds are erect with expectation, let it be reported that a state criminal of high rank is on the point of being executed in the adjoining square; in a moment the emptiness of the theatre would demonstrate the comparative weakness of the imitative arts, and proclaim the triumph of the real sympathy."

_Masterless passion_. Cf. "Merchant of Venice," iv, 1, 51: "For affection, Mistress of passion, sways it to the mood," etc.

P. 260. _satisfaction to the thought_. "Othello," iii, 3, 97.

_Now night descending_. See p. 128.

_Throw him_. Collins's "Ode to Fear."

_Ingratitude_. Cf. "King Lear," i, 4, 281: "More hideous, when thou show'st thee in a child."

P. 261. _both at the first_. "Hamlet," iii, 2, 23.

P. 262. _And visions_. Hazlitt uses this quotation in his paper on "Wordsworth's Excursion" in the "Round Table" with the change of _poetic_ to _prophetic_. "This couplet occurs in a letter from Gray to Walpole ('Letters,' ed. Tovey I, 7-8). The lines are apparently a translation by Gray of Virgil, 'Æneid,' VI, 282-84." Waller-Glover, XII, 504.

P. 263. _Doctor Chalmers's Discourses_. Thomas Chalmers (1780-1847), a celebrated divine and preacher of Scotland, published in 1817 "A Series of Discourses on the Christian Revelation, Viewed in Connection with Modern Astronomy."

_bandit fierce_. Milton's "Comus," 426.

_our fell of hair_. "Macbeth," v, 5, 11.

_Macbeth ... for the sake of the music_. Some copies of the first edition misprint _Macheath_, the name of the leading character in Gay's "Beggar's Opera." In writing "On Commonplace Critics," in the "Round Table," Hazlitt represents the commonplace critic as questioning whether any one of Shakespeare's plays, "if brought out now for the first time, would succeed. He thinks that 'Macbeth' would be the most likely, from the music which has been introduced into it." The reference is to the music written for D'Avenant's version of the play, produced in 1672. According to Waller-Glover (I, 436), "this music, traditionally assigned to Matthew Locke, is now attributed to Purcell"; but Furness, in the Variorum edition of "Macbeth," accepts the conclusion of Chappell in Grove's "Dictionary of Music," "that Purcell could not have been the composer of a work which appeared when he was in his fourteenth year," especially as "the only reason that can be assigned why modern musicians should have doubted Locke's authorship is that a manuscript of it exists in the handwriting of Henry Purcell."

P. 264. _Between the acting_. "Julius Cæsar," ii, 1, 63.

P. 265. _Thoughts that voluntary move_. "Paradise Lost," III, 37.

_the words of Mercury_. Cf. "Love's Labour's Lost," v, 2, 940: "The words of Mercury are harsh after the songs of Apollo."

_So from the ground_. "Faërie Queene," I, vi, 13.

P. 266. _the secret_ [hidden] _soul_. Milton's "L'Allegro."

P. 267. _the golden cadences_. "Love's Labour's Lost," iv, 2, 126.

_Sailing with supreme dominion_. Gray's "Progress of Poesy."

_sounding always_. See p. 207 and n.

_except poets_. Cf. "On the Prose Style of Poets" in the "Plain Speaker": "What is a little extraordinary, there is a want of _rhythmus_ and cadence in what they write without the help of metrical rules. Like persons who have been accustomed to sing to music, they are at a loss in the absence of the habitual accompaniment and guide to their judgment. Their style halts, totters, is loose, disjointed, and without expressive pauses or rapid movements. The measured cadence and regular _sing-song_ of rhyme or blank verse have destroyed, as it were, their natural ear for the mere characteristic harmony which ought to subsist between the sound and the sense. I should almost guess the Author of Waverley to be a writer of ambling verses from the desultory vacillation and want of firmness in the march of his style. There is neither _momentum_ nor elasticity in it; I mean as to the _score_, or effect upon the ear. He has improved since in his other works: to be sure, he has had practice enough. Poets either get into this incoherent, undetermined, shuffling style, made up of 'unpleasing flats and sharps,' of unaccountable starts and pauses, of doubtful odds and ends, flirted about like straws in a gust of wind; or, to avoid it and steady themselves, mount into a sustained and measured prose (like the translation of Ossian's Poems, or some parts of Shaftesbury's Characteristics) which is more odious still, and as bad as being at sea in a calm." Hazlitt's views on this question are peculiar, though his examples are well chosen. The more common opinion is that voiced by Coleridge in his remarks "On Style": "It is, indeed, worthy of remark that all our great poets have been good prose writers, as Chaucer, Spenser, Milton; and this probably arose from their just sense of metre. For a true poet will never confound verse and prose; whereas it is almost characteristic of indifferent prose writers that they should be constantly slipping into scraps of metre." Works, IV, 342.

P. 268. _Addison's Campaign_ (1705), written in honor of Marlborough's victory at Blenheim, was described as "that gazette in rhyme" by Joseph Warton (1722-1800) in his "Essay on the Writings and Genius of Pope," I, 29.

_Chaucer_. Cf. A. W. Pollard's "Chaucer," p. 35: "To Boccaccio's 'Teseide' and 'Filostrato,' he was indebted for something more than the groundwork of two of his most important poems; and he was also acquainted with three of his works in Latin prose. If, as is somewhat hardily maintained, he also knew the _Decamerone_, and took from it, in however improved a fashion, the idea of his Canterbury Pilgrimage and the plots of any or all of the four tales (besides that of Grisilde) to which resemblances have been traced in his own work, his obligations to Boccaccio become immense. Yet he never mentions his name, and it has been contended that he was himself unaware of the authorship of the poems and treatises to which he was so greatly indebted."

_Dryden_. His translations from Boccaccio are "Sigismonda and Guiscardo," "Theodore and Honoria," "Cymon and Iphigenia."

P. 269. _married to immortal verse_. "L'Allegro."

_John Bunyan_ (1628-1688), author of "Pilgrim's Progress" (1678).

_Daniel Defoe_ (c. 1659-1731), journalist and novelist. His masterpiece, "Robinson Crusoe," appeared in 1719.

_dipped in dews_. Cf. T. Heywood's "Ben Jonson, though his learned pen Was dipt in Castaly, is still but Ben."

_Philoctetes_. The story of the Greek hero who, on the voyage to the siege of Troy, was abandoned on an uninhabited island, is the subject of a play by Sophocles.

_As I walked about_. "Robinson Crusoe," Part I, p. 125 (ed. G. A. Aitken).

P. 270. _give an echo_. "Twelfth Night," ii, 4, 21.

P. 271. _Our poesy_. "Timon of Athens," i, 1, 21.

P. 272. _all plumed_. Cf. 1 "Henry IV," iv, 1, 98:

"All plumed like estridges that with the wind Baited like eagles having lately bathed; Glittering in golden coats, like images; As full of spirits as the month of May, And gorgeous as the sun at midsummer; Wanton as youthful goats, wild as young bulls."

_If we fly_. Psalms, cxxxix, 9.

P. 275. _Pope Anastatius_. "Inferno," xi, 8.

_Count Ugolino_. Ibid., xxxiii.

_Ossian_. James Macpherson (1736-1796) published between 1760 and 1765 what he alleged to be a translation of the ancient Gaelic hero-bard, Oisin or Ossian. The poems fed the romantic appetite of the generation and were translated into practically every European language. In Germany especially the influence of "Ossian" wrought powerfully through the enthusiasm it aroused in the young Goethe and in Schiller. In England, the poems, immediately upon their appearance, gave rise to a long controversy as to their authenticity, Dr. Johnson being among the first to attack the belief in their antiquity. The truth seems to be that, though there really is a legendary hero answering to Ossian, no such poems as Macpherson attributed to him were ever transmitted. The whole work is to all intents the original creation of Macpherson himself. The supposed Gaelic originals, which were published by the Highland Society of London in 1807, have been proved by philologists to be spurious, to be nothing in fact but translations into bad Gaelic from Macpherson's good English. This conclusion is further supported by the mass of borrowings from the Bible and the classics which have been found in "Ossian." See J. C. Smart: "James Macpherson, An Episode in Literature" (1905).

P. 276. _lamentation of Selma_. Lament of Colma in "Songs of Selma," Ossian, ed. William Sharp, p. 410.

_Roll on_. Cf. ibid., p. 417: "ye bring no joy on your course!"

MY FIRST ACQUAINTANCE WITH POETS

[The identification of quotations has been omitted for this essay in order to allow students an opportunity to try it for themselves.]

The third and fourth paragraphs of this essay had appeared in a letter of Hazlitt's to the Examiner (Works, III, 152). The entire essay was first published in the third number of the Liberal (see note to p. 244).

P. 277. _W--m_. Wem.

P. 281. _Murillo_ (1617-1682) and _Velasquez_ (1599-1660) are the two greatest Spanish painters.

_nothing--like what he has done_. In the essay "On Depth and Superficiality" ("Plain Speaker"), Hazlitt characterizes Coleridge as "a great but useless thinker."

P. 282. _Adam Smith_ (1723-1790), founder of the science of political economy, author of "The Wealth of Nations" (1776).

_huge folios_. In the essay "On Pedantry" ("Round Table") Hazlitt writes: "In the library of the family where we were brought up, stood the _Fratres Poloni_; and we can never forget or describe the feeling with which not only their appearance, but the names of the authors on the outside inspired us. Pripscovius, we remember, was one of the easiest to pronounce. The gravity of the contents seemed in proportion to the weight of the volumes; the importance of the subjects increased with our ignorance of them."

P. 283, n. Hazlitt's father was the author of "Discourses for the Use of Families on the Advantages of a Free Enquiry and on the Study of the Scriptures" (1790) and of "Sermons for the Use of Families" in two volumes (1808).

P. 284. _Mary Wolstonecraft_ (1759-1797), author of the "Vindication of the Rights of Woman" (1792).

_Mackintosh_, Sir James (1765-1832), wrote "Vindiciæ Gallicæ, a Defence of the French Revolution and its English Admirers against the Accusations of the Right Hon. Edmund Burke." Hazlitt writes of Mackintosh in the "Spirit of the Age" as "one of the ablest and most accomplished men of the age, both as a writer, a speaker, and a converser," and comparing him with Coleridge, he remarks, "They have nearly an equal range of reading and of topics of conversation; but in the mind of the one we see nothing but _fixtures_, in the other every thing is fluid."

_Tom Wedgwood_ (1771-1805) was an associate of some of the literary men of his day.

P. 285. _Holcroft_, Thomas (1745-1809), actor, dramatist, novelist, a member of Godwin's group of radicals. His chief writings are "The Road to Ruin" (1792), "Anna St. Ives" (1792), and "Hugh Trevor" (1794-97). Holcroft's "Memoirs," written by himself, were edited and completed by Hazlitt and published in 1816 (Works, II).

P. 286. _Hume_, David (1711-1776), historian and sceptic philosopher, described by Hazlitt as "one of the subtlest and most metaphysical of all metaphysicians." His chief writings are "A Treatise on Human Nature, being an Attempt to Introduce the Experimental Method of Reasoning into Moral Subjects" (1739-40), "Philosophical Essays" (1748), "Four Dissertations" (1757).

P. 287. _Essay on Vision_. Hazlitt calls this "the greatest by far of all his works and the most complete example of elaborate analytical reasoning and particular induction joined together that perhaps ever existed." (Works, XI, 108).

_Tom Paine_ (1737-1809), an influential revolutionary writer, author of "Common Sense" (1776), a pamphlet advocating American independence, "Rights of Man" (1791), a reply to Burke's "Reflections on the French Revolution," and "The Age of Reason" (1795). He also took an active part in both the American and French revolutions.

_prefer the unknown to the known_. Cf. the first essay "On the Conversation of Authors": "Coleridge withholds his tribute of applause from every person, in whom any mortal but himself can descry the least glimpse of understanding. He would be thought to look farther into a millstone than any body else. He would have others see with his eyes, and take their opinions from him on trust, in spite of their senses. The more obscure and defective the indications of merit, the greater his sagacity and candour in being the first to point them out. He looks upon what he nicknames _a man of genius_, but as the breath of his nostrils, and the clay in the potter's hands. If any such inert, unconscious mass, under the fostering care of the modern Prometheus, is kindled into life,--begins to see, speak, and move, so as to attract the notice of other people,--our jealous patroniser of latent worth in that case throws aside, scorns, and hates his own handy-work; and deserts his intellectual offspring from the moment they can go alone and shift for themselves."

_a discovery on the same subject_. Hazlitt's first publication, "On the Principles of Human Action."

P. 288. _I sat down to the task_, etc. Cf. "On Application to Study" ("Plain Speaker"): "If what I write at present is worth nothing, at least it costs me nothing. But it cost me a great deal twenty years ago. I have added little to my stock since then, and taken little from it. I 'unfold the book and volume of the brain,' and transcribe the characters I see there as mechanically as any one might copy the letters in a sampler. I do not say they came there mechanically--I transfer them to the paper mechanically." See also p. 345.

P. 289. _which ... he has somewhere told himself_. "Biographia Literaria," ch. 10.

_that other Vision of Judgment_. Byron's.

_Bridge-Street Junto_. "The Constitutional Association or, as it was called by its opponents, 'The Bridge Street Gang,' founded in 1821 'to support the laws for suppressing seditious publications, and for defending the country from the fatal influence of disloyalty and sedition.' The Association was an ill-conducted party organisation and created so much opposition by its imprudent prosecutions that it very soon disappeared. See an article in the Edinburgh Review for June, 1822." Waller-Glover, VI, 487.

P. 290. _at Tewkesbury_. In the essay "On Going a Journey," Hazlitt refers to this episode as occurring at Bridgewater: "I remember sitting up half the night to read Paul and Virginia, which I picked up at an inn in Bridgewater, after being drenched in the rain all day; and at the same place I got through two volumes of Madame D'Arblay's Camilla."

_Paul and Virginia_ (1788), a sentimental novel by Bernardin St. Pierre (1737-1814).

P. 291. _Camilla_ (1796), a novel by Fanny Burney (1752-1840).

_a friend of the poet's_. "This is a mistake. Wordsworth paid £23 a year for Alfoxden. The agreement is given in Mrs. Henry Sandford's 'Thomas Poole and His Friends,' I, 225." Waller-Glover.

P. 292. _In the outset of life_. Alongside of this paragraph should be read the essay "On the Feeling of Immortality in Youth," Works, XII, 150.

P. 294. _Chantrey_, Sir Francis (1781-1842). His bust of Wordsworth is now at Cole-Orton.

_Haydon_, Benjamin Robert (1786-1846), a celebrated English painter who was intimate with many literary men. In the picture referred to Haydon also introduced a portrait of Hazlitt.

_Monk Lewis_. Matthew Gregory Lewis (1775-1818) wrote among other things a sensational novel, "The Monk" (1795), which gained him his nickname. "The Castle Spectre" was originally produced at the Drury Lane Theatre in 1797.

P. 295. _Tom Poole_ (1765-1837), friend and patron of Coleridge.

P. 296. _Sir Walter Scott's_, etc. Probably a reference to the banquet given to George IV by the Magistrates of Edinburgh and attended by Scott, August 24, 1822.

_Blackwood_, William (1776-1834), the Edinburgh publisher.

_Gaspar Poussin_ (1613-1675). His real name was Dughet, but he changed it out of respect to his brother-in-law, Nicholas Poussin.

_Domenichino_ or Domenico Zampieri (1581-1641), a painter of Bologna.

P. 297. _Death of Abel_ (1758), an idyllic-pastoral poem by Solomon Gessner (1730-1788), a German poet of the Swiss school who enjoyed a wide popularity in the eighteenth century.

P. 298. _since the days of Henry II_. As Henry II lived in the twelfth century, and as neither Coleridge nor Wordsworth ever refer to the language of Henry II as their standard, the statement in the text may probably be considered as a blunder of Hazlitt's.

_He spoke with contempt of Gray and with intolerance of Pope._ Cf. "Biographia Literaria," ch. 2: "I felt almost as if I had been newly couched, when, by Mr. Wordsworth's conversation, I had been induced to re-examine with impartial strictness Gray's celebrated Elegy. I had long before detected the defects in The Bard; but the Elegy I had considered as proof against all fair attacks; and to this day I can not read either without delight, and a portion of enthusiasm. At all events whatever pleasure I may have lost by the clearer perception of the faults in certain passages, has been more than repaid to me by the additional delight with which I read the remainder." In his "Table Talk," October 23, 1833, Coleridge says again: "I think there is something very majestic in Gray's Installation Ode; but as to the Bard and the rest of his lyrics, I must say I think them frigid and artificial." Of Pope and his followers he writes ("Biographia Literaria," ch. 1): "I was not blind to the merits of this school, yet, as from inexperience of the world, and consequent want of sympathy with the general subjects of these poems, they gave me little pleasure, I doubtless undervalued the kind, and with the presumption of youth withheld from its masters the legitimate name of poets. I saw that the excellence of this kind consisted in just and acute observations on men and manners in an artificial state of society, as its matter and substance, and in the logic of wit, conveyed in smooth and strong epigrammatic couplets, as its form; that even when the subject was addressed to the fancy, or the intellect, as in the Rape of the Lock, or the Essay on Man; nay, when it was a consecutive narration, as in that astonishing product of matchless talent and ingenuity, Pope's Translation of the Iliad; still a point was looked for at the end of each second line, and the whole was, as it were, a _sorites_, or, if I may exchange a logical for a grammatical metaphor, a conjunction disjunctive, of epigrams. Meantime, the matter and diction seemed to me characterized not so much by poetic thoughts, as by thoughts translated into the language of poetry."

_he thought little of Junius as a writer_. Cf. Coleridge's "Table Talk," July 3, 1833: "The style of Junius is a sort of metre, the law of which is a balance of thesis and antithesis. When he gets out of his aphorismic metre into a sentence of five or six lines long, nothing can exceed the slovenliness of the English."

_dislike for Dr. Johnson_. Cf. "Table Talk," July 4, 1833: "Dr. Johnson's fame now rests principally upon Boswell. It is impossible not to be amused with such a book. But his _bow-wow_ manner must have had a good deal to do with the effect produced.... As to Burke's testimony to Johnson's powers, you must remember that Burke was a great courtier; and after all, Burke said and wrote more than once that he thought Johnson greater in talking than in writing, and greater in Boswell than in real life."

_opinion of Burke_. Cf. "Table Talk," April 8, 1833: "Burke was indeed a great man. No one ever read history so philosophically as he seems to have done.... He would have been more influential if he had less surpassed his contemporaries, as Fox and Pitt, men of much inferior minds, in all respects."

_He liked Richardson, but not Fielding._ On this subject Coleridge evidently changed his mind. Cf. "Table Talk," July 5, 1834: "What a master of composition Fielding was! Upon my word, I think the OEdipus Tyrannus, the Alchemist, and Tom Jones the three most perfect plots ever planned. And how charming, how wholesome, Fielding always is! To take him up after Richardson is like emerging from a sickroom heated by stoves into an open lawn on a breezy day in May."

_Caleb Williams_, the chief novel of William Godwin.

P. 298, n. _He had no idea of pictures_. See p. 212.

_Buffamalco_. Cristofani Buonamico (1262-1351), also known as Buffalmacco, a painter of Florence.

P. 300. _Elliston_, Robert William (1774-1813), actor and later manager of the Drury Lane Theatre.

_still continues_. See p. 224 and n.

ON THE CONVERSATION OF AUTHORS

This is the title of Essays III and IV of the "Plain Speaker." Our selection begins with the last paragraph of the first, which forms a fitting introduction to the account of one of Lamb's celebrated Wednesday evenings. Lamb tells us that his sister was accustomed to read this essay with unmixed delight.

P. 301. _When Greek meets Greek_. Nathaniel Lee's "Alexander the Great," iv, 2.

_C----_. Coleridge.

P. 302. _small-coal man_. Thomas Britton (1654?-1714), a dealer in small coal, who on the floor of his hut above the coal-shop held weekly concerts of vocal and instrumental music, at which the greatest performers of the day, even Handel, were to be heard.

_And, in our flowing cups_. Cf. "Henry V," iv, 3, 51:

"then shall our names Familiar in his mouth as household words ... Be in their flowing cups freely remember'd."

P. 303. _the cartoons_. See Hazlitt's account of Raphael's cartoons in "The Pictures at Hampton Court" (Works, IX, 43).

_Donne_, John (1573-1631), poet and divine. Hazlitt in the "Lectures on the English Poets" confesses that he knows nothing of him save "some beautiful verses to his wife, dissuading her from accompanying him on his travels abroad (see p. 318), and some quaint riddles in verse, which the Sphinx could not unravel." V, 83.

P. 304. _Ned P----_. Edward Phillips. Lamb speaks of him as "that poor card-playing Phillips, that has felt himself for so many years the outcast of Fortune." (Works, ed. Lucas, VII, 972.)

_Captain ----_. Rear-Admiral James Burney (1750-1821), brother of Fanny Burney the novelist, author of a "Chronological History of the Voyages and Discoveries in the South Sea or Pacific Ocean" in five volumes (1803-1817). "The captain was himself a character, a fine, noble creature--gentle, with a rough exterior, as became the associate of Captain Cook in his voyages round the world, and the literary historian of all these acts of circumnavigation." Crabb-Robinson's Diary, 1810.

_Jem White_. James White (1775-1820), of whom Lamb has left us a sketch in the essay "On the Praise of Chimney-Sweepers": "He carried away half the fun of the world when he died." He wrote, it is supposed with some cooperation from Lamb, the "Original Letters, etc., of Sir John Falstaff and his Friends" (1796), which were described by Lamb as "without exception the best imitations I ever saw." (Works, ed. Lucas, VI, 2.) A review of this book by Lamb, consisting chiefly of specimens, appeared in the Examiner in 1819 (Works, ed. Lucas, I, 191 ff).

_turning like the latter end_. This phrase occurs in one of the extracts in Lamb's review of Falstaff's Letters just mentioned (p. 194).

_A----_. William Aryton (1777-1858), a musical critic and director of the King's Theatre in the Haymarket. In the letter of Elia to Robert Southey (Lamb's Works, I, 230) he is spoken of as "the last and steadiest left me of that little knot of whist-players, that used to assemble weekly, for so many years, at the Queen's Gate."

_Mrs. R-----_. Mrs. Reynolds, who had been Lamb's schoolmistress.

_M. B._ Martin Charles Burney, son of Admiral Burney. "Martin Burney is as odd as ever.... He came down here, and insisted on reading Virgil's 'Æneid' all through with me (which he did,) because a Counsel must know Latin. Another time he read out all the Gospel of St. John, because Biblical quotations are very emphatic in a Court of Justice. A third time, he would carve a fowl, which he did very ill-favoredly, because 'we did not know how indispensable it was for a Barrister to do all those sort of things well. Those little things were of more consequence than we supposed.' So he goes on, harassing about the way to prosperity, and losing it. With a long head, but somewhat wrong one--harum-scarum. Why does not his guardian angel look to him? He deserves one--: may be, he has tired him out." Lamb's Works, VII, 855.

_Author of the Road to Ruin_. Thomas Holcroft.

P. 305. _Critique of Pure Reason_, by Kant.

_Biographia Literaria_. Coleridge's account of his literary life, published in 1817.

_Those days are over!_ The event here referred to may be Waterloo. Mr. Lucas thinks that Hazlitt's share in Lamb's gatherings "ceased after an unfortunate discussion of Fanny Burney's Wanderer, which Hazlitt condemned in terms that her brother, the Admiral, could not forgive." (Lamb's Works, I, 482.) It is likely that Mr. Lucas has been led astray by the statement in Crabb-Robinson's Diary to the effect that Hazlitt used to attend Captain Burney's whist-parties "till he affronted the Captain by severe criticisms on the works of his sister," presumably by his article in the Edinburgh Review in 1814. Hazlitt commemorates Lamb's evenings in the "Pleasure of Hating" ("Plain Speaker"): "What is become of 'that set of whist players,' celebrated by Elia in his notable _Epistle to Robert Southey, Esq._ ... 'that for so many years called Admiral Burney friend?' They are scattered, like last year's snow. Some of them are dead--or gone to live at a distance--or pass one another in the street like strangers; or if they stop to speak, do it as coolly and try to _cut_ one another as soon as possible. Some of us have grown rich--others poor. Some have got places under Government--others a _niche_ in the Quarterly Review. Some of us have dearly earned a name in the world; whilst others remain in their original privacy. We despise the one, and envy and are glad to mortify the other."

_Like angels' visits_. Cf. Blair's "The Grave," 582: "Like those of angels, short and far between." Hazlitt was fond of pointing out this source for Campbell's famous line "Like angels' visits few and far between," and of insisting that the alteration spoiled the sense. Thereby he is said to have incurred Campbell's bitter hostility.

P. 306. _Mr. Douce_, Francis (1757-1834), Shakespearian scholar and keeper of the manuscripts in the British Museum.

_L. H----_. Leigh Hunt. There is a sketch of him in the "Spirit of the Age."

_aliquando sufflaminandus erat_. "He sometimes had to be checked." This is a quotation from Seneca which Ben Jonson in "Timber" (ed. Schelling, p. 23) had applied to Shakespeare.

P. 307. _The Indicator_. Leigh Hunt's most successful series of essays, which began their run in 1819.

_Mr. Northcote_, James (1746-1831), the painter of whose talk Hazlitt has left an entertaining record in the "Conversations of James Northcote" (1830), a book which inspired Crabb-Robinson to say, "I do not believe that Boswell gives so much good talk in an equal quantity of his life of Johnson."

P. 308. _Sir Joshua's_. Sir Joshua Reynolds (1723-1792), the famous English painter.

P. 309. _Horne Tooke_ (1736-1812), politician and author of a celebrated philological volume, "The Diversions of Purley" (1786, 1805). His portrait is included in the "Spirit of the Age": "He was without a rival (almost) in private conversation, an expert public speaker, a keen politician, a first-rate grammarian, and the finest gentleman (to say the least) of his own party. He had no imagination (or he would not have scorned it!)--no delicacy of taste, no rooted prejudices or strong attachments: his intellect was like a bow of polished steel, from which he shot sharp-pointed poisoned arrows at his friends in private, at his enemies in public."

_hear a sound so fine_. J. S. Knowles's "Virginius," v, 2.

P. 310. _silenced a learned professor_. Cf. "Spirit of the Age": "He used to plague Fuseli by asking him after the origin of the Teutonic dialects, and Dr. Parr, by wishing to know the meaning of the common copulative, _Is_."

_Curran_, John Philpot (1750-1817), member of Parliament from Ireland, orator and wit.

P. 311. _Mrs. Inchbald_, Elizabeth (1753-1821), a well-known actress, dramatist, and novelist. In literature she is associated with the group of William Godwin, and her best-known works are "A Simple Story" and "Nature and Art."

_from noon to dewy eve_. "Paradise Lost," I, 743.

_Mrs. M----_. Mrs. Montagu, wife of Basil Montagu. In the "Pleasure of Hating" ("Plain Speaker") there is another allusion to Mrs. Montagu "whose dark raven locks made a picturesque background to our discourse."

_H--t's_. Leigh Hunt's.

_N--'s_. Northcote's.

_H--yd--n's_. Haydon's.

_Doctor Tronchin_. Theodore Tronchin, a physician of Geneva, figures in Rousseau's "Confessions."

P. 312. _Sir Fopling Flutter_, a character in George Etherege's comedy, "The Man of Mode."

_For wit is like a rest_. "Master Francis Beaumont's Letter to Ben Jonson." For _players_ read _gamesters_.

_came down into the country_. Charles and Mary Lamb with a few of their friends paid a visit to Hazlitt at Winterslow in 1810.

_Like the most capricious poet_. "As You Like It," iii, 3, 8.

_walked gowned_. Lamb's "Sonnet Written at Cambridge, August 15, 1819."

P. 313. _the person I mean_. George Dyer (1755-1841), an amiable hack-writer and a friend of Lamb. He figures prominently in two of the Essays of Elia, "Oxford in the Vacation" and "Amicus Redivivus," and in many of Lamb's letters. "To G. D. a poem is a poem. His own as good as any bodie's, and god bless him, any bodie's as good as his own, for I do not think he has the most distant guess of the possibility of one poem being better than another. The Gods by denying him the very faculty itself of discrimination have effectually cut off every seed of envy in his bosom." Letter to Wordsworth (Lamb's Works, ed. Lucas, VI, 519).

OF PERSONS ONE WOULD WISH TO HAVE SEEN

This, like the preceding essay, is a record of one of Lamb's Wednesday evenings. It was originally published in the New Monthly Magazine for January, 1826, from which the present text is reproduced. It was republished by Hazlitt's son in "Literary Remains" (1836) and "Winterslow" (1850).

P. 315. _Come like shadows_. "Macbeth," iv, 1, 111.

_B----_. Lamb. The name is supplied in "Literary Remains."

_defence of Guy Faux_. See p. 224 and n.

_Never so sure_. Pope's "Moral Essays," II, 51.

_A----_. William Ayrton.

P. 316. _in his habit_. "Hamlet," iii, 4, 135.

P. 317. _And call up him_. "Il Penseroso," 109.

_wished that mankind_. Browne's "Religio Medici," Part 11, section 9.

_Prologues spoken_. See Prologue to Fulke Greville's tragedy of "Alaham."

P. 318. _old edition_. Mr. W. C. Hazlitt suggests that it is the edition of 1609 of which Lamb owned a copy. "Memoirs of Hazlitt," I, 276.

_Here lies_. "An Epithalamion on the Lady Elizabeth and Count Palatine." Muses' Library, I, 86.

_By our first strange_. "Elegy on his Mistress," I, 139.

P. 320. _lisped in numbers_. Pope's "Prologue to Satires," 128.

_His meeting with Petrarch_. Chaucer was in Italy in 1372-3, but his meeting with Petrarch is only a matter of conjecture. He probably did not meet Boccaccio, the author of the "Decameron."

_Ugolino_. See p. 275.

_portrait of Ariosto_. Hazlitt probably refers to the Portrait of a Poet in the National Gallery, now ascribed to Palma.

P. 321. _the mighty dead_. Thomson's "Winter," 432.

_creature of the element_. Cf. "Comus," 299:

"Of some gay creatures of the element, That in the colors of the rainbow live, And play i' the plighted clouds."

_That was Arion_. "Faërie Queene," IV, ix, 23.

_For Captain C., M. C., Miss D----_, "Literary Remains" supplies Admiral Burney, Martin Burney, Miss Reynolds.

_with lack-luster eye_. "As You Like It," ii, 7, 21.

P. 322. _his compliments_. See p. 129.

P. 323. _But why then publish_. "Prologue to Satires," 135.

_Gay's verses_. "Mr. Pope's Welcome from Greece" (ed. Muses' Library, I, 207).

P. 324. _E----_. In "Literary Remains" the name supplied is Erasmus Phillips, probably a mistake for Edward Phillips.

_nigh-sphered in heaven_. Collins's "Ode on the Poetical Character," 66.

_Garrick_, David (1717-1779), the celebrated actor.

_J. F----_. According to "Literary Remains," Barron Field (1786-1846), Lamb's friend and correspondent.

_Handel_, George Frederick (1685-1759), the musical composer, German by birth but naturalized in England.

P. 325. _Wildair_, in Farquhar's comedy "Sir Harry Wildair."

_Abel Drugger_, in Ben Jonson's "Alchemist," was one of Garrick's famous parts.

P. 326. _author of Mustapha_. Fulke Greville.

_Kit Marlowe_ (1564-1593), the most brilliant writer of tragedy before Shakespeare. He wrote "Tamburlaine the Great," "The Tragical History of Dr. Faustus," "The Jew of Malta," and "Edward the Second." In the "Age of Elizabeth" Hazlitt says of him, "There is a lust of power in his writings, a hunger and thirst after unrighteousness, a glow of the imagination, unhallowed by any thing but its own energies."

_Webster_, John, wrote during the first quarter of the seventeenth century. His chief plays are "The White Devil" and the "Duchess of Malfy." _Dekker_, Thomas (c. 1570-1641). "The Shoemaker's Holiday," "The Honest Whore," and "Old Fortunatus" are his best plays. In the third lecture of the "Age of Elizabeth" Hazlitt thus compares Webster and Dekker: "Webster would, I think, be a greater dramatic genius than Deckar, if he had the same originality; and perhaps is so, even without it. His White Devil and Duchess of Malfy, upon the whole perhaps, come the nearest to Shakspeare of anything we have upon record; the only drawback to them, the only shade of imputation that can be thrown upon them, 'by which they lose some colour,' is, that they are too like Shakspeare, and often direct imitations of him, both in general conception and individual expression.... Deckar has, I think, more truth of character, more instinctive depth of sentiment, more of the unconscious simplicity of nature; but he does not, out of his own stores, clothe his subject with the same richness of imagination, or the same glowing colours of language. Deckar excels in giving expression to certain habitual, deeply-rooted feelings, which remain pretty much the same in all circumstances, the simple uncompounded elements of nature and passion:--Webster gives more scope to their various combinations and changeable aspects, brings them into dramatic play by contrast and comparison, flings them into a state of fusion by a kindled fancy, makes them describe a wider arc of oscillation from the impulse of unbridled passion, and carries both terror and pity to a more painful and sometimes unwarrantable excess. Deckar is content with the historic picture of suffering; Webster goes on to suggest horrible imaginings. The pathos of the one tells home and for itself; the other adorns his sentiments with some image of tender or awful beauty. In a word, Deckar is more like Chaucer or Boccaccio; as Webster's mind appears to have been cast more in the mould of Shakespeare's, as well naturally as from studious emulation."

_Heywood_, Thomas (d. c. 1650), a prolific dramatist who excelled in the homely vein. His best-known play is "The Woman Killed with Kindness."

_Beaumont_, Francis (1584-1616), and _Fletcher_, John (1579-1625), composed their dramas in collaboration. In the "Age of Elizabeth" Hazlitt calls them lyric and descriptive poets of the first order, but as regards drama "the first writers who in some measure departed from the genuine tragic style of the age of Shakspeare. They thought less of their subject, and more of themselves, than some others. They had a great and unquestioned command over the stores both of fancy and passion; but they availed themselves too often of commonplace extravagances and theatrical trick.... The example of preceding or contemporary writers had given them facility; the frequency of dramatic exhibition had advanced the popular taste; and this facility of production, and the necessity for appealing to popular applause, tended to vitiate their own taste, and to make them willing to pamper that of the public for novelty and extraordinary effect. There wants something of the sincerity and modesty of the older writers. They do not wait nature's time, or work out her materials patiently and faithfully, but try to anticipate her, and so far defeat themselves. They would have a catastrophe in every scene; so that you have none at last: they would raise admiration to its height in every line; so that the impression of the whole is comparatively loose and desultory. They pitch the characters at first in too high a key, and exhaust themselves by the eagerness and impatience of their efforts. We find all the prodigality of youth, the confidence inspired by success, an enthusiasm bordering on extravagance, richness running riot, beauty dissolving in its own sweetness. They are like heirs just come to their estates, like lovers in the honeymoon. In the economy of nature's gifts, they 'misuse the bounteous Pan, and thank the Gods amiss.' Their productions shoot up in haste, but bear the marks of precocity and premature decay. Or they are two goodly trees, the stateliest of the forest, crowned with blossoms, and with the verdure springing at their feet; but they do not strike their roots far enough into the ground, and the fruit can hardly ripen for the flowers!"

_Jonson_, Ben (1573-1637), was the originator of the "comedy of humors." Hazlitt, in discussing him at length in the second lecture on the "Comic Writers," confesses a disrelish for his style. "He was a great man in himself, but one cannot readily sympathise with him. His works, as the characteristic productions of an individual mind, or as records of the manners of a particular age, cannot be valued too highly; but they have little charm for the mere general reader. Schlegel observes, that whereas Shakspeare gives the springs of human nature, which are always the same, or sufficiently so to be interesting and intelligible; Jonson chiefly gives the _humours_ of men, as connected with certain arbitrary and conventional modes of dress, action, and expression, which are intelligible only while they last, and not very interesting at any time. Shakspeare's characters are men; Ben Jonson's are more like machines, governed by mere routine, or by the convenience of the poet, whose property they are.... His portraits are caricatures by dint of their very likeness, being extravagant tautologies of themselves; as his plots are improbable by an excess of consistency; for he goes thoroughstitch with whatever he takes in hand, makes one contrivance answer all purposes, and every obstacle give way to a predetermined theory.... Old Ben was of a scholastic turn and had dealt a little in the occult sciences and controversial divinity. He was a man of strong crabbed sense, retentive memory, acute observation, great fidelity of description and keeping in character, a power of working out an idea so as to make it painfully true and oppressive, and with great honesty and manliness of feeling, as well as directness of understanding: but with all this, he wanted, to my thinking, that genial spirit of enjoyment and finer fancy, which constitute the essence of poetry and wit.... There was nothing spontaneous, no impulse or ease about his genius: it was all forced, up-hill work, making a toil of pleasure. And hence his overweening admiration of his own works, from the effort they had cost him, and the apprehension that they were not proportionably admired by others, who knew nothing of the pangs and throes of his Muse in child-bearing." Works, VIII, 39-41. Of Ben Jonson's tragedies Hazlitt held a higher opinion than of his comedies. "The richer the soil in which he labours, the less dross and rubbish we have.... His tenaciousness of what is grand and lofty, is more praiseworthy than his delight in what is low and disagreeable. His pedantry accords better with didactic pomp than with illiterate and vulgar gabble; his learning engrafted on romantic tradition or classical history, looks like genius.... His tragedy of the Fall of Sejanus, in particular, is an admirable piece of ancient mosaic.... The depth of knowledge and gravity of expression sustain one another throughout: the poet has worked out the historian's outline, so that the vices and passions, the ambition and servility of public men, in the heated and poisonous atmosphere of a luxurious and despotic court, were never described in fuller or more glowing colours." Works, V, 262-3.

_a vast species alone_. Cowley's "The Praise of Pindar."

_G----_. Godwin, according to "Literary Remains."

_Drummond of Hawthornden_. William Drummond (1585-1649), the poet who recorded his conversation with Ben Jonson on the occasion of a visit paid to him by the latter in 1618. "He has not done himself or Jonson any credit by his account of their conversation," says Hazlitt in the "Lectures on the Age of Elizabeth." Works, V, 299.

_Eugene Aram_ was hanged in 1759 for a murder he had committed several years earlier.

_Admirable Crichton_. James Crichton (1560?-1582), a Scotchman of noble birth who, in a brief life, gained the reputation of universal genius and concerning whose powers many legends arose.

P. 327. _H----_. Hunt, according to "Literary Remains."

_Hobbes_, Thomas (1588-1679), the English philosopher. His chief work is "Leviathan, or the Matter, Form, and Power of a Commonwealth, Ecclesiastical and Civil" (1651). Hazlitt vindicated the superiority of Hobbes as a thinker at a time when his fame was overshadowed by other reputations. He calls him the founder of the modern material philosophy and maintains that "the true reason of the fate which this author's writings met with was that his views of things were too original and comprehensive to be immediately understood, without passing through the hands of several successive generations of commentators and interpreters. Ignorance of another's meaning is a sufficient cause of fear, and fear produces hatred." Works, XI, 25-48.

_Jonathan Edwards_ (1703-1758). In writing "On the Tendency of Sects" in the "Round Table," Hazlitt had alluded to Edwards as an Englishman and had spoken of his work on the Will as "written with as much power of logic, and more in the true spirit of philosophy, than any other metaphysical work in the language."

P. 327, n. _Lord Bacon_, Francis (1561-1626), statesman, scientist, and man of letters. His chief works are the "Essays" (1597), the "Advancement of Learning" (1604), "Novum Organum" (1620), "History of Henry VII" (1622).

P. 328. _Dugald Stewart_ (1753-1828), Scotch philosopher.

_Duchess of Bolton_. Lavinia Fenton (1708-1760), the original Polly in Gay's "Beggar's Opera," married the Duke of Bolton in 1751.

P. 329. _Raphael_, Sanzio (1483-1520), the greatest of all the Italian painters.

_Lucretia Borgia with calm golden locks_. This sounds like a striking anticipation of Landor's fine line, "Calm hair meandering in pellucid gold" in his poem "On Lucretia Borgia's Hair." Or had Hazlitt seen the poem before it was published?

_Michael Angelo_ (1475-1564), poet, painter, architect, and sculptor, the most famous of the great Italian artists.

_Correggio_ (1494-1534), _Giorgione_ (1477-1510), _Guido_ (1575-1642), _Cimabue_ (1240-1302), _Vandyke_ (1599-1641). The other painters are mentioned elsewhere in this volume.

_whose names on earth_. In his review of Sismondi's "Literature of the South" (Works, X, 62) Hazlitt cites among the proofs of Dante's poetic power "his description of the poets and great men of antiquity, whom he represents 'serene and smiling,' though in the shades of death, 'because on earth their names in fame's eternal records shine for aye.'" As these lines have not been located in Dante, they have been ascribed to the lying memory of Lamb, from whose lips Hazlitt learned them.

P. 330. _Mrs. Hutchinson_, Lucy (b. 1620), whose life of her Puritan husband, Colonel Hutchinson, had appeared in 1806, presumably shortly before the conversation recorded in this essay.

_one in the room_. Mary Lamb, the sister of the essayist.

_Ninon de Lenclos_ (1615-1705), for a long time the leader of fashion in Paris and the patroness of poets.

_Voltaire_ (1694-1778), the sceptical philosopher of the Enlightenment; _Rabelais_ (1490-1553), the greatest French humorist, author of "Gargantua and Pantagruel"; _Molière_ (1622-1673), the master of French comedy; _Racine_ (1639-1699), the master of French classic tragedy; _La Fontaine_ (1621-1695), author of the "Fables"; _La Rochefoucauld_ (1613-1680), celebrated for his book of cynical "Maxims" which Hazlitt imitated in his "Characteristics"; _St. Evremont_ (1610-1703), a critic.

P. 331. _Your most exquisite reason_. Cf. "Twelfth Night," ii, 3, 155.

_Oh, ever right_. "Coriolanus," ii, 1, 208.

_H----_. This speech is attributed to Lamb in "Literary Remains," but wrongly so according to Waller and Glover "because, in the first place, the speech seems more characteristic of Hunt than of Lamb, and, secondly, because the volume of the New Monthly in which the essay appeared contains a list of errata in which two corrections (one of them relating to initials) are made in the essay and yet this 'H----' is left uncorrected."

ON READING OLD BOOKS

This essay was first published in the London Magazine for February, 1821, and republished in the "Plain Speaker."

P. 333. _I hate to read new books._ It would take too long to recall all the passages in which Hazlitt voices his sentimental attachment to the writers with whom he first became acquainted. "The greatest pleasure in life," he says in one essay, "is that of reading when we are young," and at the conclusion of his lectures on the "Age of Elizabeth" he remarks: "Were I to live much longer than I have any chance of doing, the books which I read when I was young, I can never forget." Patmore's statement concerning Hazlitt's later reading may be exaggerated, but it is interesting in this connection: "I do not believe Hazlitt ever read the half of any work that he reviewed--not even the Scotch novels, of which he read more than of any other modern productions, and has written better perhaps, than any other of their critics. I am certain that of many works that he has reviewed, and of many writers whose general pretensions he has estimated better than anybody else has done, he never read one tithe." "My Friends and Acquaintances," III, 122.

_Tales of my Landlord_. Scott's.

_Lady Morgan_ (1783?-1859), a writer of Irish stories, of which the best-known is "The Wild Irish Girl" (1806). She is also the author of certain miscellaneous productions, among which is a "Life of Salvator Rosa" reviewed by Hazlitt for the Edinburgh Review, July, 1824. Works, X, 276-310.

_Anastatius_, an Eastern romance by Thomas Hope (1770-1831).

_Delphine_ (1802), a novel by Madame De Staël (1766-1817), the celebrated French bluestocking.

_in their newest gloss_. "Macbeth," i, 7, 34.

_Andrew Millar_ (1707-1768), the publisher of Thomson's and Fielding's works.

_Thurloe's State Papers_. "A Collection of State Papers" (1742) by John Thurloe (1616-1668), Secretary of State under Cromwell.

_Sir Godfrey Kneller_ (1648-1723), a portrait painter of German birth whose work and reputation belong to England.

P. 335. _for thoughts_. Cf. "Hamlet," iv, 5, 175: "There's rosemary, that's for remembrance; pray, love, remember: and there is pansies, that's for thoughts."

_Fortunatus's Wishing Cap_, in Dekker's play of "Old Fortunatus."

_Bruscambille_. "Tristram Shandy," Bk. III, ch. 35.

_the masquerade_. "Tom Jones," Bk. XIII, ch. 7.

_the disputes_. Bk. III, ch. 3.

_the escape of Molly_. Bk. IV, ch. 8.

_Sophia and her muff_. Bk. V, ch. 4.

_her aunt's lecture_. Bk. VII, ch. 3.

_the puppets dallying_. "Hamlet," iii, 2, 257.

P. 336. _ignorance was bliss_. Gray's "Ode on a Distant Prospect of Eton."

_Ballantyne press_. The printing firm of John and James Ballantyne in Edinburgh with which Scott was associated, and in whose financial ruin he was so disastrously involved.

_Minerva Press_. The sponsor of popular romances.

P. 337. _Mrs. Radcliffe_, Anne (1764-1823), a very popular writer of novels in which romance, sentiment, and terror are combined in cunning proportions. Her chief novels are "The Romance of the Forest" (1791), "The Mysteries of Udolpho" (1794) and "The Italian" (1797). Hazlitt writes of her in the lecture "On the English Novelists."

_sweet in the mouth_. Revelation, x, 9.

_gay creatures_. "Comus," 299.

_Tom Jones discovers Square_. Bk. V, ch. 5.

_where Parson Adams_. "Joseph Andrews," Bk. IV, ch. 14.

P. 338. _Chubb's Tracts_. Thomas Chubb (1679-1747), a tallow-chandler who devoted his leisure hours to the deistic controversy. His "Tracts and Posthumous Works" were published in six volumes in 1754.

_fate, free-will_. "Paradise Lost," II, 560.

_Would I had never seen_. Marlowe's "Dr. Faustus," Scene 19.

P. 339. _New Eloise_. "Julie, ou La Nouvelle Héloise" (1760), a novel by the great French sentimentalist, Jean Jacques Rousseau (1712-1778), who was the most powerful personal force in the revolutionary movement of the eighteenth century and whose writings have left a deep impression on the political and educational systems of the nineteenth. His other important works are "The Social Contract" and "Émile" (1762) and the "Confessions" (1782). Hazlitt has a "Character of Rousseau" in the "Round Table" (see p. xliv, n.).

_scattered like stray-gifts_. Wordsworth's "Stray Pleasures."

_Sir Fopling Flutter_, in Sir George Etherege's comedy "The Man of Mode" (1676).

P. 339, n. _a friend_. Charles Lamb.

P. 340. _leurre de dupe_, a decoy. The expression occurs in the fourth book of Rousseau's "Confessions."

_a load to sink a navy_. "Henry VIII," iii, 2, 383.

_Marcian Calonna is a dainty book._ Lamb's "Sonnet to the Author of Poems Published under the Name of Barry Cornwall."

P. 341. _Keats_. Hazlitt shared the popular conception of Keats as an effeminate poet. He concludes the essay "On Effeminacy of Character" in "Table Talk" with a reference to Keats: "I cannot help thinking that the fault of Mr. Keats's poems was a deficiency in masculine energy of style. He had beauty, tenderness, delicacy, in an uncommon degree, but there was a want of strength and substance. His Endymion is a very delightful description of the illusions of a youthful imagination, given up to airy dreams--we have flowers, clouds, rainbows, moonlight, all sweet sounds and smells, and Oreads and Dryads flitting by--but there is nothing tangible in it, nothing marked or palpable--we have none of the hardy spirit or rigid forms of antiquity. He painted his own thoughts and character; and did not transport himself into the fabulous and heroic ages. There is a want of action, of character, and so far, of imagination, but there is exquisite fancy. All is soft and fleshy, without bone or muscle. We see in him the youth, without the manhood of poetry. His genius breathed 'vernal delight and joy.'--'Like Maia's son he stood and shook his plumes,' with fragrance filled. His mind was redolent of spring. He had not the fierceness of summer, nor the richness of autumn, and winter he seemed not to have known, till he felt the icy hand of death!" Again in the introduction to the "Select British Poets" (Works, V, 378), he says that Keats "gave the greatest promise of genius of any poet of his day. He displayed extreme tenderness, beauty, originality, and delicacy of fancy; all he wanted was manly strength and fortitude to reject the temptations of singularity in sentiment and expression. Some of his shorter and later pieces are, however, as free from faults as they are full of beauties."

_Come like shadows_. "Macbeth," iv, 1, 111.

_Tiger-moth's wings_ and _Blushes with blood_. Keats's "Eve of St. Agnes."

_Words, words_. "Hamlet," ii, 2, 194.

_the great preacher_. Edward Irving.

_as the hart_. Psalms, xlii, 1.

_Giving my stock_ [sum]. "As You Like It," ii, 1, 48.

P. 342. _Valentine, Tattle and Prue_, characters in Congreve's "Love for Love" (1695).

_know my cue_. Cf. "Othello," i, 2, 83.

_Intus et in cute_. See p. 163.

_Sir Humphry Davy_ (1778-1829), the celebrated chemist.

P. 343. _with every trick and line_ [line and trick]. "All's Well That Ends Well," i, 1, 107.

_the divine Clementina_, in Richardson's "Sir Charles Grandison."

_that ligament_. Sterne's "Tristram Shandy." Bk. VI, ch. 10.

_story of the hawk_. "Decameron," Fifth Day, ninth story.

_at one proud_ [fell] _swoop_. "Macbeth," iv, 3, 219.

P. 344. _with all its giddy_ [dizzy] _raptures_. Wordsworth's "Tintern Abbey," 85.

_embalmed with odours_. "Paradise Lost," II, 843.

_the German criticism_. See p. 112.

_His form_. "Paradise Lost," I, 591.

_Falls flat_. Ibid., I, 460.

P. 345. _For Dr. Johnson's and Junius's style_. See pp. 147-9, 186, 190.

_he, like an eagle_. "Coriolanus," v, 6, 115.

_An Essay on Marriage_. "No such essay by Wordsworth is at present known to exist. It would seem either that 'Marriage' is a misprint for some other word, or that Hazlitt was mistaken in the subject of the essay referred to by Coleridge. Hazlitt is probably recalling a conversation with Coleridge in Shropshire at the beginning of 1798 (cf. 'My First Acquaintance with Poets'), at which time _A Letter to the Bishop of Llandaff_ (1793) was the only notable prose work which Wordsworth had published." Waller-Glover.

P. 345, n. _Is this the present earl?_ "James Maitland, eighth Earl of Lauderdale (1759-1839), succeeded his father in August, 1789." Waller-Glover.

P. 346. _worthy of all acceptation_. 1 Timothy, i, 15.

_Clarendon_. Edward Hyde, Earl of Clarendon (1609-1674), English statesman and author of the "History of the Rebellion" (1704-1707).

_Froissart_, Jean (1338-1410), the chronicler of the Hundred Years' War.

_Holinshed_, Ralph (d. 1580?), author of "Chronicles of England, Scotlande, and Irelande" (1578).

_Stowe_, John (1525?-1605), author of "Englysh Chronicles" (1561).

_Thucydides_ (460? B.C.-399?), the historian of the Peloponnesian War.

_Guicciardini_, Francesco (1483-1540), Italian statesman and author of a "History of Italy from 1494 to 1532."

P. 347. _The Loves of Persiles and Sigismunda_, the last work of Cervantes (translated into English in 1619) and _Galatea_, his first work (1585).

_another Yarrow_. Cf. Wordsworth's "Yarrow Revisited."

INDEX

INDEX

"Academy of Compliments," 81.

Addison, Joseph, xxxii, liii, lvii, 130, 142, 143, 144, 147, 153, 268, 303, 328, 377, 378.

Adventurer, The, 152, 342, 379.

Æschylus, 48, 71, 209, 278.

Alcæus, 193.

"Alexander's Feast," 199.

Alison, A., xxxvi.

"A Mad World, My Masters," 18.

"Amelia," 160-2.

Amyot, Jacques, 352.

"Anatomy of Melancholy," 224, 397, 400.

"Ancient Mariner," 213, 297.

"Antony and Cleopatra," liv-lvi, 39, 361.

Aquinas, Thomas, 211, 328, 392.

Aram, Eugene, 326, 424.

Arbuthnot, John, lx, 130, 212, 375.

Aretine, Peter, 12, 320, 353.

Ariel, 85-6, 210, 365.

Ariosto, Lodovico, xliii, 11, 21, 243, 253, 320, 352.

Aristophanes, 48.

Aristophanes of Byzantium, 363.

Aristotle, xxxiii, 135.

Arnold, Matthew, lix.

"As You Like It," lv, 58, 363.

Atherstone, Edwin, xxxvii.

Ayrton, W., 304, 315-9, 328, 331, 378, 416.

Babbitt, Irving, lxx n.

Bacon, Francis, xii, xv, liii, 1, 146, 254, 327 n., 425.

Bagehot, W., xxxiii, lxxii.

Beattie, James, 365.

Beaumont and Fletcher, lvi, 1, 2, 226, 326, 346, 422.

"Beggar's Opera," 71, 263.

Behmen, Jacob, 211, 392.

Belleforest, François de, 353.

Bentham, Jeremy, lviii.

Berkeley, George, xii, 210, 287 n., 327, 338, 390.

Betterton, T., 141, 377.

Bewick, T., 201, 388.

Bible, 6-11, 264, 271, 272-3, 351.

Bickerstaff, Isaac, 139, 140, 377.

Birrell, A., lxxii, lxxiii.

Blackstone, Sir William, 157, 380.

Blackwood's Magazine, xxv-xxvii, xxxvii, lxxi.

Blackwood, W., xxvii, 296, 413.

Blount, Martha, 121, 321, 324, 374.

Boccaccio, Giovanni, xliii, 12, 16, 127, 137, 268, 320, 343, 352, 408-9, 422.

Boileau, Nicolas, 124, 374.

Bolingbroke, Viscount, 127, 129, 190, 375.

Borgia, Lucretia, 329.

Boswell, J., 150-1, 303, 317, 321, 379, 414.

Bowles, W. L., xlv, xlvii, 211, 245, 374, 393.

Britton, T., 302, 415.

"Broken Heart, The," lvi.

Brooke, Lord. See Greville, Fulke.

Browne, Sir Thomas, lxiv, 224, 316-7, 397, 400.

Buckingham, Duke of, 130, 375.

Buffamalco, 298 n., 415.

Bulwer-Lytton, Edward, lxxii.

Bunyan, John, 224, 269, 324, 409.

Burke, Edmund, xii, xiv, liii, lxvi, 145 n., 147, 150, 156, 172-90; his mental range, 172-3; as an orator, 173-5; subtlety of understanding, 176-8; views on government and society, 179-82; onesidedness, 182-3; prose style, 184-9, 271 n., 345, 384; 212, 259, 284, 298, 325, 343-5, 411, 414-5.

Burleigh, Lord, 21, 356.

Burney, Fanny, 380, 383, 413, 417.

Burney, James, 304, 321, 416, 417.

Burney, Martin, 304, 321, 324, 328, 416-7.

Burns, Robert, xxxvi, 7.

Burton, Robert, 224, 397, 400.

Butler, Joseph, 210, 287, 299, 327, 385, 390.

Byron, Lord, xi, xxiii, xxvii n., xxxvi, xxxvii, xlv, liii, lviii-lix, lxxi, 197, 203, 216, 236-50, his self-centered nature contrasted with Scott's, 236-41; his intensity, 241-3; his romances, 242; his tragedies, 243; his satire, 244-5; his serio-comic style, 245-6; his extravagance, 246-8; aristocratic pride, 248; death in Greece, 249-50, 393.

"Cain," 247.

Calamy, Edmund, 211, 391.

"Caleb Williams," 298.

"Camilla," 291, 413.

"Campaign, The," 268, 408.

Campbell, Thomas, xxxvii, xlv, lviii, 417-8.

Carlyle, T., xviii n., xxxi, li.

Cary, H. F., 353.

Castiglione, B., 12, 353.

"Catiline," 11.

Cervantes, Miguel de, xiii, 97, 157-8, 347, 380, 430.

Chalmers, T., 263, 407.

Chantrey, Sir Francis, 294, 413.

Chapman, G., 2, 4, 11, 352.

Charron, P., 136 n., 376.

Chatham, Lord, 174-5, 177 n., 188, 383.

Chatterton, T., 328.

Chaucer, Geoffrey, liii, lxxiii, 21, 32, 34-5, 40-2, 200, 267-8, 319-21, 343, 408-9, 422.

Chester, John, 295-9.

Chesterton, G. K., xviii.

"Childe Harold," 242.

"Christabel," lvii, 214, 395.

Chubb, T., 338, 427.

Cibber, Colley, 52.

Cicero, 12, 188-9.

Cimabue, 329, 331, 425.

Cinthio, Giraldi, 353.

Citizen of the World, 152-3, 379.

Clarendon, Earl of, 346, 430.

"Clarissa Harlowe," 168-9, 270.

Clarke, S., 210, 391.

Claude of Lorraine, 212, 264, 298 n., 303, 329.

Cobbett, W., lvii, lxi-lxii, lxvii.

Coke, Sir Edward, 1, 350.

Coleridge, S. T., xiii, service to English criticism, xxxviii-xl; xlvii, lii, liii, liv, lviii-lix, lxi, lxiii-lxiv, lxxi, 205-15; his intellect, 205-7; extent of reading, 209-12; inactivity, 213; his poetry, 213-4; his prose, 214-5; compared with Southey, 216-8; 277-300; his preaching, 279-80; kindness to Hazlitt, 280, 283, 286; appearance, 281; literary opinions, 284-8, 298, 413-5; conversation, 289, 301; manner of reading, 292, 295; 303, 304-5, 310, 311, 341, 345, 356, 358, 359, 362, 363, 367, 368, 369, 371, 374, 381, 387, 408, 411.

Collins, W., 200.

Comedy, 96-8, 371.

"Comedy of Errors," l.

"Comus," 32.

Congreve, W., 97, 371.

Connoisseur, The, 152, 342, 379.

"Coriolanus," 11, 361.

Corneille, Pierre, 361.

Cornwall, Barry, xxxvi.

Correggio, 329, 425.

"Corsair, The," 242.

Cotton, C., 138, 376.

"Count Fathom," 164-5.

Cowley, A., 138, 377.

Cowper, W., 109, 211, 297.

Crabbe, G., xxxvii, lviii-lix.

Crebillon, Claude, 155, 212, 380.

Crichton, James, "the Admirable," 326, 424.

Croker, J. W., 212, 393.

Croly, George, xxxvii.

Cromwell, Oliver, 324.

Cudworth, R., 210, 390.

Cumberland, R., 365.

Curran, J. P., 310, 418.

"Cymbeline," lv, 50-9.

Dante, xliii, 12, 48, 112, 114, 200, 243, 271, 273-5, 320, 353, 425.

D'Avenant, W., 407.

Davidson, John, lxxiii n.

Davies, Sir John, 21.

Davy, Sir Humphry, 342, 368, 429.

"Death of Abel," 297, 413.

Defoe, Daniel, liii, 157 n., 269, 409.

Dekker, T., lvi, 1, 4, 10, 18, 326, 421-2.

De Lolme, J. L., 157, 380.

"Delphine," 333.

De Quincey, T., xxxii, lxvii, 387.

Dobell, Bertram, 398.

Domenichino, 296, 413.

"Don Juan," 245, 246 n.

Donne, J., 303, 318-9, 416.

"Don Quixote," 164, 330, 337, 346, 381.

Douce, F., 306, 418.

Drake, Sir Francis, 1, 350.

Drake, Nathan, 17, 354.

Drummond, William, of Hawthornden, 326, 424.

Dryden, J., xxxiii, xxxiv, 107, 127, 200, 268, 303, 323.

Du Bartas, G., 12, 353.

Duns Scotus, 211, 328, 392.

Durfey, Tom, 141, 377.

Dyer, G., 313, 419.

Eachard, John, 157, 380.

Edgeworth, Maria, xxxvi.

Edinburgh Review, xi, xv, xxxv, xxxvi, xxxviii, xlvi, lxxi, lxxii.

Edwards, Jonathan, 327, 424.

Elliston, R. W., 300, 415.

"Emilius," xlviii, 339-40.

"English Bards and Scotch Reviewers," 244.

"Epistle of Eloise to Abelard," 127.

"Essay on Criticism," 124-5.

"Essay on Laws," xxiii.

"Essay on the Principles of Human Action," xiv, 287, 412.

Estcourt, R., 141, 377.

Euripides, 209.

"Eve of St. Agnes," lviii.

"Excursion, The," 198.

"Faërie Queene," xlvii, xlviii, 13, 356, 357.

Fairfax, Edward, 11.

Farquhar, George, 343.

Fawcett, J., xii, 385.

Fichte, J. G., 212, 394.

Field, Barron, 324, 420.

Fielding, H., xiii, xlii, lvii, 156-65, 167, 224, 298, 303, 324, 380, 415.

Fletcher, John, 4, 16, 17, 354.

Ford, John, lvi.

Foster, John, xxxv n.

Fox, C. J., 177 n., 188, 298, 385.

Francis, Sir Philip, 393.

Friend, The, 215, 396.

Froissart, Jean, 346, 430.

Froude, J. A., xxxiii.

Fuller, T., 224, 346, 400.

Fuseli, H., 145, 310, 378.

Garrick, D., 151, 324-5, 420.

Gay, J., 224, 303, 328, 401.

Geoffrey of Monmouth, 353.

"George Barnwell," 365.

Gessner, S., 413.

Ghirlandaio, 212, 329, 331, 394.

Gibbon, Edward, xxxv, 224.

Gifford, W., xxxviii.

"Gil Blas," 303, 337, 381.

Giorgione, 329, 425.

Giotto, 212, 329, 331, 394.

Godwin, W., xi, xiii, xv, lxvii, 212, 226, 284-5, 300, 311, 326, 383, 393, 396.

Goethe, J. W., xiii, 212, 341, 394, 409.

Golding, Arthur, 352.

Goldsmith, Oliver, 148, 150, 151, 152-3, 162, 170, 212, 308, 321, 325, 342.

Gosse, E., xliv n.

Gray, T., 155, 200, 298, 328, 414.

Greville, Fulke, 210, 316-7, 326, 390.

Guardian, The, 145, 378.

Guicciardini, F., 346, 430.

Guido, 329, 425.

"Guy Faux," 224, 231, 315, 331, 399.

"Guzman d'Alfarache," 381.

Halifax, Marquis of, 138, 376.

"Hamlet," liv, 14, 37-9, 51, 60, 76-84, 367-8.

Hampden, John, 232, 402.

Handel, G. F., 324, 415, 421.

Harrington, Sir John, 11.

Hartley, D., 210, 327, 338, 390.

Hawkesworth, John, 152, 379.

Haydon, B. F., xxiv, xxvi, xxix, 294, 311, 413.

Hazlitt, John, xiii.

Hazlitt, W., the elder, xii, 277-8, 281-4, 411.

Hazlitt, W. In relation to his age, xi-xii; early environment and reading, xii-xiii; interest in metaphysics, xiii-xv; as a painter, xiii-xiv; beginnings of authorship, xiv; introduction to journalism, xv; as an essayist, xvi ff.; his paradox, xvii-xx; emotional warmth, xx-xxi; outward unhappiness, xxi-xxii; sentiment for the past, xxii-xxiii; attachment to political principles, xxiii-xxv; literary-political quarrels, xxv-xxix; embittered feelings, xxix-xxxi; Carlyle's judgment, xxxi; as an essayist, xxxii-xxxiii; as a critic, xxxix ff.; debt to Coleridge, xxxix-xl and notes _passim_; union of taste and judgment, xl-xli; catholicity of taste, xli-xlii; narrowness of reading, xlii-xlv; generalizing power, xlv-xlvi; historical viewpoint, xlvi; limitations, xlvii; feeling for books, xlviii, 426; on literature and life, xlix; on "imagination," xlix; on substance and form, l; on poetry and metre, li; scope of his criticism, lii-liii; on Shakespeare, liii-lvi; on Elizabethan dramatists, lvi; on his contemporaries, lvii-lix; his prose style, lix-lxix; on diction, lxvi n.; use of quotations, lxix; influence, lxix-lxxiii; his view of English character, 19-20; on progress in the arts, 262, 358; friendship with Lamb, 398-400, 417; meeting with Coleridge and its effects, 277-300.

Hazlitt, W. C, xiv n.

"Heaven and Earth," 243.

Heine, Heinrich, liv, lxxi.

Henley, Ernest, xxxiii.

Henry VI, 365.

Herford, C. H., xlii n.

Hesiod, 11.

Heywood, T., 2, 4, 326, 422.

Hobbes, T., xii, xv, 327, 338, 424.

Hoby, T., 353.

Hogarth, W., 158, 212, 225, 303, 324, 381.

Holcroft, T., 285, 300, 304-5, 411, 417.

Holinshed, Ralph, 15, 346, 353-4, 430.

Homer, xlviii, 11, 104, 112, 115, 119, 189, 193, 253, 268, 270, 271-2, 273, 275, 352.

Hood, Tom, xxxvii.

Hook, Theodore, 393.

Hooker, Richard, 1, 350.

Horne, R. H., lxxii.

Howells, W. D., lxxi.

Hume, D., xii, 286-7, 327, 338, 411.

"Humphrey Clinker," 164, 385.

Hunt, Leigh, xvii, xxvi, xxxii, liii, lix, lxxi, 306-7, 311, 327, 330-1, 390, 404, 418, 426.

Huss, John, 211, 391.

Hutchinson, Lucy, 330, 425.

Iago, liv, 42, 72-6, 361, 365.

Imagination, 34; in Shakespeare, 45; in Milton, 104-5; 255-6.

Inchbald, Elizabeth, 311, 383, 418.

Irving, Edward, liii, lix, 341.

Irving, Washington, 397.

Jeffrey, Francis, xxxvi-xxxviii, xlv, lix, 244, 376, 404.

Jerome of Prague, 211, 391.

Jervas, C., 130-1, 375.

"John Bull," 212, 393.

"John Buncle," xliv, 302.

Johnson, S., xxxiv, xxxvi, lii, 34, 99, 107, 109, 145-52; his prose style, 146-9, 186; his character by Boswell, 150-2; 167, 189, 201, 212, 287, 298, 303, 308, 317, 321, 325, 345, 358, 361, 362, 366, 373, 378, 387, 397, 409, 414-5.

"John Woodvill," 226, 401.

Jonson, Ben, 1, 2, 4, 11, 226, 326, 423-4.

"Joseph Andrews," 156-8, 160, 161-2, 337.

"Julia de Roubigné," 154, 343.

"Julius Cæsar," 11.

Junius, 190, 212, 224, 298, 303, 324, 345, 393, 414.

Kames, Lord, xxxiv, xxxv.

Kant, I., 212, 394, 395, 417.

Kean, E., 84, 368.

Keats, John, xvi, xxv, xxxvi, xlviii, lviii, 341, 428-9.

Kemble, J. P., 84, 310, 367-8.

"King Lear," l, liv, 14, 42, 48, 51, 60, 78, 256-7, 260, 361, 363.

Kneller, Sir Godfrey, 333, 427.

Kotzebue, A. F. F., xliv.

La Fontaine, Jean de, 330, 425.

Lamb, Charles, xvii, xxii, xxvi, xxxii, xliii, xliv, xlviii, liii, lvi, lxi, lxvii, lxxi, 18, 71, 83 n., 154, 209, 220-6, his conversation, 225, 302-3, 311; meeting with Hazlitt, 300; friendship with Hazlitt, 305, 398-400, 417; his Wednesday evenings, 302-332; 311, 339 n., 367, 368, 369, 380, 381, 386, 390, 425, 426.

Lamb, Mary, xxii, 330, 380, 415.

Landor, W. S., xxxiii, 425.

Lang, Andrew, xxvi.

"Laodamia," 197.

"Lara," 242.

La Rochefoucauld, François de, xvi, 330, 425.

"Launcelot Greaves," 164.

"Lazarillo de Tormes," 381.

Leibnitz, G., 210, 327, 391.

Leonardo da Vinci, 225, 329, 331, 401.

Le Sage, Alain, 157, 380.

Lessing, G. E., 212, 395.

"Letter of Elia to Robert Southey," 400, 417.

Lewis, M. G., 294, 413.

Liberal, The, 244, 404.

Lillie, Charles, 141, 377.

Lillo, G., l, 71, 258, 365.

Locke, John, 315-6, 328, 338.

Lockhart, J. G., xxvi, xxvii, xxviii, xxxvii-xxxviii, lix.

London Magazine, xxvi n., xxxvii-xxxviii, lxxi.

Longinus, xxxiii, xxxv, lxvii, 115, 372.

Lounger, The, 153, 379.

Lowell, J. R., lvi, lxxii-lxxiii.

Lucas, E. V., 417.

Luther, Martin, 232, 402.

"Lutrin," 124, 374.

"Lyrical Ballads," 192, 198, 291-2, 297, 342.

Lyttleton, Lord, 379.

MacAdam, J. L., 232, 402.

Macaulay, T. B., lxxi, 393.

"Macbeth," 14, 42, 48, 51, 60-71, 263, 361, 365, 407.

Machiavelli, N., 12, 353.

Mackail, J. W., lii n.

Mackenzie, H., 153-4, 343, 379.

Mackintosh, Sir James, 284, 411.

Macpherson, J., 409-10.

Malebranche, N., 210, 390.

Malthus, T. R., xiv.

Mandeville, B., 145, 218, 378.

"Manfred," 244.

"Man of Feeling," 154, 343.

"Man of the World, The," 153.

Mansfield, Lord, 129, 375.

Marivaux, Pierre, 155, 212, 380.

Marlborough, Duke of, 141, 377.

Marlowe, Christopher, lvi, 2, 4, 16, 326, 338, 421.

Marston, John, 2, 4, 350.

Massaccio, 212, 394.

Michael Angelo, 200, 275, 329, 425.

Middleton, T., 2, 4, 71, 350.

"Midsummer Night's Dream," lv, 17, 85-7, 363.

Millar, A., 333, 427.

Milman, Henry, xxxvii.

Milton, John, xlviii, li, lii, liii, lxi, lxxiii, 4, 7, 33, 34-5, 41-2, 44, 47, 101-17; his high seriousness, 101-4; his learning, 104; his ideas both musical and picturesque, 105-7, 371; his blank verse, 107-9; resemblance to Dante, 114; compared with Homer, 115; 120, 149, 189, 200, 211, 224, 265, 298, 303, 316, 343-4, 406, 408.

Mirror, The, 153, 379.

"Misanthrope," 361.

Molière, J. B. P., xliii, 97, 252, 330, 361, 425.

Montagu, Mrs. Basil, 311, 418.

Montague, Lady Mary Wortley, 324.

Montaigne, Michel de, xvi, 134-8, 139, 146, 330, 376, 401.

Montesquieu, C. L. de S., 309.

Moore, Edward, 1, 258, 379, 406.

Moore, Thomas, xxxvii, lviii, lxviii, 243.

More, Hannah, xliv.

Morgan, Lady, 333, 426.

Morgann, Maurice, 359, 369.

Morley, John, xliv n., 383, 384.

"Much Ado About Nothing," 371.

Murillo, l, 281, 410.

Murray, John, xxvii, 289.

Napoleon, xiii, xxiv, 343 n., 372.

Neal, Daniel, 211, 391.

Newcastle, Duchess of, 210, 330, 390.

"New Eloise, The," 339.

Newton, Sir Isaac, 145, 315-6, 389.

Ninon de Lenclos, 330, 425.

North, Sir Thomas, 11.

Northcote, James, lvii, 307-8, 311, 401, 418.

"Ode on the Departing Year," 290.

Oldfield, Anne, 141, 377.

Ophelia, 38-9, 82-3, 367.

Ossian, 271, 275-6, 408, 409-10.

"Othello," 14, 42, 47, 51, 60, 72-6, 257, 361, 368.

Otway, T., 4, 328, 351.

Ovid, 11, 131, 137, 352.

Paine, Tom, 288, 411.

Paley, W., 201, 287, 388.

"Pamela," 166-8.

"Paradise Lost," xlvii, 303, 310, 385, 406.

"Paradise Regained," 303.

Parnell, T., 224, 400.

Parr, Samuel, 418.

"Paul and Virginia," 290, 412-3.

"Peregrine Pickle," 164, 335.

"Persian Letters," 152, 379.

"Peter Bell," 294-5.

Petrarch, F., 12, 320, 353.

Phaer, Thomas, 352.

Phillips, E., 304, 324, 416.

"Philoctetes," 269, 409.

"Pilgrim's Progress," li, 32, 268-9.

Pindar, 193.

Pindar, Peter, 219, 311, 396.

Pitt, William, 177 n., 298.

Plato, 211, 253, 392.

Plotinus, 211, 392.

Plutarch, 11, 140, 352.

"Poems on the Naming of Places," 290.

Poetry, epic and dramatic poetry distinguished, 43; verse its obvious distinction, 118, 268-9; poetry of art and nature, 119; poetry defined, 251 ff., 268-9; tragic poetry, 256-61; poetic diction, 261-2; poetry and civilization, 262-3; poetry and painting, 263-5; poetry and rhythm, 265-8 n.; poetry and eloquence, 271 n.

Poole, Tom, 291, 295, 413.

Pope, Alexander, xlii, xlv, lvii, lxiii, lxxii, 32, 107, 109, 110, 118-32; his poetic limitations, 118; the poet of artificial life, 119-122; his correctness, 126-7; his satire, 128-30; his compliments, 129-30; his letters, 132; 136, 141, 200, 224, 245, 260, 268, 298, 303, 308, 321-3, 342, 357, 361, 362, 364, 373-4, 414.

Poussin, Gaspar, 296, 413.

Poussin, Nicolas, 26, 201, 357.

Priestley, Joseph, xii, xv, xxiii, 210, 390.

Proclus, 211, 392.

Puck, 45, compared with Ariel, 85-6, 365.

Quarterly Review, xxv, xxvi, xxvii, xxxv, lxvi.

Rabelais, F., 48, 212, 330, 425.

Racine, J., 330, 425.

Radcliffe, Anne, 337, 383, 427.

Raleigh, Sir Walter, 1, 350.

Rambler, The, 145-6, 342, 378, 397.

"Rape of the Lock," l, 122-4.

Raphael, 212, 264, 298 n., 329, 389, 416, 425.

"Rasselas," 149, 378.

"Religious Musings," 211.

Rembrandt, 202, 263, 329, 388, 389.

"Remorse," 214, 299, 396.

"Return from Parnassus," 17.

Reynolds, Mrs., 304, 321, 323, 416.

Reynolds, Sir Joshua, 275, 308, 325, 329, 418.

Richard II, 43, 365.

Richard III, compared with Macbeth, 68-70, 365.

Richardson, S., xiii, xlii, lvii, 157, 158, 165-70, 270, 298, 303, 324, 342, 381, 415.

"Rivals, The," 164.

Roberts, William, 244, 404.

Robertson, J. M., lxxiii n.

"Robinson Crusoe," li, 201, 268-9.

"Roderick Random," 162-4.

Rogers, Samuel, xxxvi, xxxvii.

"Romeo and Juliet," liv, 51, 84-5, 310, 363, 368.

Ronsard, Pierre, 12, 353.

"Rosamond Gray," 154, 226, 401.

Rousseau, J. J., xii, xiii, xvi, xxiv, xliv n., 212, 311, 330, 339-40, 428.

Rowley, William, 2, 350.

Rubens, Peter Paul, 30, 329, 357.

Sainte-Beuve, C. A., xl, lxx.

St. Evremont, Ch., 330, 401, 425.

St. Pierre, B., 413.

Saintsbury, G., xl n., lvii, lxx n., lxxiii n., 366.

Sallust, 12.

Salmasius, Claudius, 114, 372.

Sannazarius, 388.

Saxo Grammaticus, 15, 353.

Schelling, F. W. J., 212, 394-5.

Schiller, Friedrich, xliv, 214, 341, 409.

Schlegel, A. W., liii n., liv, lxxi, 84, 349, 358, 363, 368, 423.

Schlegel, F., xxvii n.

Scott, John, xxvi n., xxviii.

Scott, Sir Walter, xxviii, xxxvi, xxxvii, liii, lviii-lix, 227-35; his novels, 227-30; his freedom from prejudice, 230-1; his Toryism, 231-3; character, 234-5; compared with Byron, 236-41, 246-7; his poetry, 237-8, 241, 249, 296, 347, 383, 408, 427.

"Sejanus," 11, 424.

Seneca, 177.

Settle, Elkanah, 128.

Shaftesbury, Lord, 138, 377, 408.

Shakespeare, W., xxvii, xxxiii, xxxiv, xlii, xliii, xlv, l, liii-lvi, lxix, lxxi, lxxiii, 1, rank among contemporaries, 2-5, 35; 11, 13, 14, 17, 32, 33, 34-100; compared with Chaucer, Spenser, and Milton, 34-5, 40-3; compared with modern poets, 44; universal sympathy of mind, 35-40, 119, 358; his imagination, 45; language and versification, 46-7; faults, 47-8; genius for comedy, 49, 96-9, 361, 371; his women, 49, 51-2, 362; unity of feeling, 56-7, 363; his morality, 59, 81; tragic power, 60, 361; use of contrast, 66-7; skill in individualizing character, 68-70, 85-6, 364-5; unsuited to stage, 70-1, 83-4, 87, 369; detachment from his characters, 78, 366; his poetry, 99-100, 101, 104, 107, 119, 121, 158, 189, 200, 224, 229, 258, 268, 298, 303, 316, 331, 342, 406, 407, 421-3.

Shelley, P. B., xi, xxiv, xxv, xxxvi, xxxvii, lviii, 393.

Shenstone, William, 385.

Sheridan, R. B., 310.

Shrewsbury Chronicle, xxiii.

Siddons, Sarah, 64, 364.

Sidney, Algernon, 232, 402.

Sidney, Sir Philip, 1, 16, 288, 303, 316, 354.

"Sir Charles Grandison," 166, 168, 169, 270, 324, 383.

Sir Fopling Flutter, xlviii, 312, 339, 419.

Sir Roger de Coverley, 142.

Smith, Adam, 282, 410.

Smollett, T., 157-8, 162-5, 224, 303, 381.

Socinus, F. P., 211, 391.

Somers, John, 232, 403.

Sophocles, 189, 209, 409.

"Sorrows of Werther," 212, 394.

South, Robert, 210, 287, 391.

Southey, Robert, xxviii, xxxvi, lviii, lxxi, 28, 212, 216-9, 289, 300, 395.

Spectator, The, 141-5, 342, 377.

Spenser, Edmund, liii, lvii, lxxiii, 1, 13, 21-33; his picturesqueness, 21 ff.; his allegory, 25-26; language and versification, 32-3; 34-5, 103, 107, 265, 321, 343, 408.

Spinoza, Baruch, 211, 391.

de Staël, Madame, xliv, 426.

Steele, Richard, xxxii, liii, lvii, 139, 142, 144, 145, 303, 328.

Sterne, L., xiii, 153, 157, 158, 170-1, 303, 309, 381, 397.

Stevenson, R. L., xviii n., xxiii, lix.

Stewart, Dugald, 328, 425.

Stoddart, Dr., 114, 372.

Stowe, John, 346, 430.

Suckling, Sir John, 16.

Surrey, Earl of, 16, 352, 354.

Swedenborg, Emanuel, 211, 392.

Swift, Jonathan, xviii n., lx, 212, 303, 328, 377.

Sylvester, Joshua, 353.

Tacitus, 12.

Talfourd, T. N., lxxii, 379.

"Tartuffe," 361.

Tasso, T., xliii, 11, 24 n., 112, 243, 352.

Tatler, The, 139, 140-5, 342, 377.

Taylor, Jeremy, liii, 211, 298, 392.

"Tempest," 13, 85-6, 363.

Temple, Sir William, 138, 377.

Thackeray, W. M., lxii.

Thomson, James, 109, 200, 212, 297, 328.

Thucydides, 346, 430.

Thurloe, John, 333, 427.

Tillotson, John, 210, 391.

"Timon of Athens," 48, 361.

Titian, 264, 308, 320, 329, 343, 387, 389.

"Tom Jones," xlviii, 159-60, 162-3, 290, 335-7.

Tooke, Horne, 309, 310, 327, 418.

"Troilus and Cressida," 45.

Tucker, Abraham, xiv.

Turberville, George, 352-3.

Turenne, Marshal, 141, 377.

"Twelfth Night," 96-100.

"Two Noble Kinsmen," 17.

Twyne, Thomas, 352.

Vanbrugh, Sir John, 97, 141, 371.

Van Dyck, Sir Anthony, 329, 389, 425.

Velasquez, 281, 410.

"Venice Preserved," 351.

Veronese, Paul, 228, 402.

Virgil, 11, 137, 140, 297, 352.

"Vision of Judgment," 248, 289, 404-5.

Voltaire, F. M. A., xliv, 48, 212, 330, 389, 401, 425.

Waithman, Robert, 226, 401.

"Wallenstein," 214, 396.

Walton, Izaak, 201, 387-8.

Warton, Joseph, xxxv, 408.

Waterloo, Antoine, 201, 388.

Waverley Novels, 224, 228-30, 240, 303, 333.

Webster, John, lvi, 1, 4, 326, 421-2.

Wedgwood, Tom, 284-6, 411.

Whateley, Thomas, 365.

White, James, 304, 416.

"Whole Duty of Man," 81.

Wickliff, John, 232, 402.

Wilson, John, xxvi, xxviii.

Wolcot, John. See Peter Pindar.

Wolstonecraft, Mary, 284-5, 311, 393, 411.

Wordsworth, W., xi, xxviii-xxix, xxxvi, xxxvii, xxxviii, xliii, xlviii, liii, lviii-lix, lxix, 3, 109, 191-204; the poet of simple humanity, 191; his democracy, 192; defiance of convention, 192-4; poet of nature, 195-6; his philosophic vein, 196-8; his appearance, voice, and manner, 198-9, 293-5; his opinions of poets and painters, 199-202, 388-9; "the child of disappointment," 203-4, 216, 242, 244, 284, 290-5; meeting with Hazlitt, 293, 297, 311, 345, 386, 395, 413.

World, The, 152, 342, 379.

Wycherley, William, 97, 371.

Young, Edward, 109, 366.

Zanga, 76.

Zisca, John, 211, 391.

Transcriber's Notes:

Passages in italics are indicated by _underscore_.

Additional spacing after some of the quotes is intentional to indicate both the end of a quotation and the beginning of a new paragraph as presented in the original text.

The following misprints have been corrected: "agan" corrected to "again" (page lxv) "controul" corrected to "control" (page 18) "Guttony" corrected to "Gluttony" (page 26) "developement" corrected to "development" (page 78) "Pharoah's" corrected to "Pharaoh's" (page 94) "beween" corrected to "between" (page 95) "theirs" corrected to "their" (page 133) "atchieve" corrected to "achieve" (page 136) "idomatic" corrected to "idiomatic" (page 170) "distate" corrected to "distaste" (page 222) "Woolstonecroft" corrected to "Wolstonecraft" (page 311) "recal" corrected to "recall" (page 338) "begininng" corrected to "beginning" (page 341)

Other than the corrections listed above, printer's inconsistencies in spelling, punctuation, hyphenation, and ligature usage have been retained.

End of Project Gutenberg's Hazlitt on English Literature, by Jacob Zeitlin