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David Garrick (1717-1779) appeared,
298. the character in which Garrick came out.
the second character in which Mr. Kean appeared. Edmund Kean (1787-
But I was born, Act 1. 3.
299. Cooke. George Frederick Cooke (1756-1811) acted Richard III. at Covent Garden on September 20, 1809. See Genest's Some Account of the English Stage, viii. p. 178.
300. Sir Giles Overreach, in Massinger's A New Way to Pay Old Debts (1620-33). For Hazlitt's criticism of Kean's acting in this and the other characters referred to in the same paragraph see his A View of the English Stage. Oroonoko, or the Royal Slave. A play (1696) by Thomas Southerne (1660/11746) founded on a novel of Aphra Behn's (1640-1689).
Cibber. See note to p. 157.
301. bustle in, Act 1. 1.
they do me wrong, Act 1. 3 [speak fair].
I beseech your graces, Act 1. 1.
302. Stay, yet look, Act iv. I [rude, ragged nurse]. Dighton and Forrest, Act iv. 3.
303. Nay, forsooth, Act 11. 1.
Dr. Johnson observes, Malone's Shakespeare, vol. xix. p. 498. 304. Farewell, a long farewell, Act ш. 2. him whom of all men, Act iv. 2. while her grace sat down, Act iv. I. 305. No maid could live near such a man.
Mr. P. A. Daniel suggests that by a slip this remark has been said of Shakespeare instead of Henry VIII. The emendation would make the paragraph read thus: "It has been said of him [i.e. Henry VIII.]—" No maid could live near such a man." It might with as good reason be said of Shakespear-"No king could live near such
the best of kings. A phrase applied to Ferdinand VII. of Spain in official documents. See The Examiner, September 25, 1814, where the words are ironically italicised.
To consider thus. Hamlet, Act v. 1.
307. Heat me these irons, Act iv. 1.
310. There is not yet, Act iv. 3.
To me, Act II. I.
that love of misery and Oh father Cardinal, Act 111. 4.
311. Aliquando. Ben Jonson's Discoveries, LXIV., De Shakespeare Nostrati,
311. commodity, tickling commodity, Act 11. 1.
312. That daughter there, Act 11. 1 [niece to England]. Therefore to be possessed, Act Iv. 2.
314. high fantastical, Act 1. 1.
Wherefore are these things hid, Act 1. 3.
rouse the night-owl and Dost thou think, Act 11. 3.
we cannot agree with Dr. Johnson. See Dr. Johnson's Preface, before cited, P. 71.
315. What's her history, Act 11. 4.
Oh, it came o'er the ear, Act 1. 1 [the sweet sound].
They give a very echo, Act 11. 4.
Blame not this haste, Act iv. 3.
316. O fellow, come, Act 11. 4.
Here comes the little villain, Act 11. 5 [drawn from us with cars].
THE TWO GENTLEMEN OF VERONA
318. It is observable. The note is by Pope. See Malone's Shakespeare, vol. iv. p. 3. See Malone's Shakespeare,
This whole scene.
vol. iv. p. 13.
Pope's note is to Act 1. 1.
Why, how know you, Act II. 1.
319. I do not seek, Act 11. 7.
The river wanders [glideth] at its [his] own sweet will. Sonnet composed upon
And sweetest Shakespear. L'Allegro, lines 133-134.
[Or sweetest Shakespeare .
THE MERCHANT OF VENICE
320. Mr. Cumberland. Richard Cumberland (1732-1811), dramatist. baited with the rabble's curse. Macbeth, Act v. 8.
a man no less sinned against. Cf. King Lear, Act 111. 2.
the lodged hate, Act iv. I.
milk of human kindness. Macbeth, Act 1. 5.
Jewish gaberdine, Act 1. 3.
lawful, Act Iv. 1.
on such a day, Act 1. 3.
321. I am as like, Act 1. 3.
To bait fish withal, Act II. 1.
What judgment, Act iv. 1.
322. I would not have parted, Act II. 1.
I hold the world, Act 1. 1.
323. How sweet the moonlight, Act v. 1.
Bassanio and old Shylock, Act IV. I.
324. 'Tis an unweeded garden. Hamlet, Act 1. 2 [things rank, and gross in nature, possess it merely].
THE WINTER'S TALE
324. We wonder that Mr. Pope. See Pope's Preface, Malone's Shakespeare, vol. i. P. 15.
Ha' not you seen, Act 1. 2.
325. Is whispering nothing? Act 1. 2.
326. Thou dearest Perdita, Act IV. 4.
329. Even here undone, Act iv. 4.
ALL'S WELL THAT ENDS WELL
330. Oh, were that all, Act 1. 1.
The soul of this man, Act 11. 5.
the bringing off of his drum, Act III. 6 and Act iv. I.
331. Is it possible, Act iv. I.
Yet I am thankful, Act iv. 3.
Frederigo Alberigi and his Falcon, Boccaccio's Decameron, 5th day, 9th story. 332. the story of Isabella. Id., 4th day, 5th story.
Tancred and Sigismunda. ́ Id., 4th day, 1st story. See also Dryden's Sigismonda
Honoria. Id., 5th day, 8th story. See also Dryden's Theodore and Honoria.
Jeronymo. Id., 4th day, 8th story.
the two holiday lovers. Id., 4th day, 7th story.
LOVE'S LABOUR'S LOST
332. the golden cadences of poesy, Act iv. 2.
set a mark of reprobation, Pope's note to The Two Gentlemen of Verona. Malone's Shakespeare, vol. iv. p. 13.
333. as too picked, Act v. 1.
as light as bird from brake [brier]. A Midsummer Night's Dream, Act v. 1. O! and I forsooth, Act III. 1 [a humorous sigh... This senior-junior]. 334. Oft have I heard, Act v. 2 [your fruitful brain].
the words of Mercury, Act v. 2.
MUCH ADO ABOUT NOTHING
335. Oh, my lord, Act 1. 1.
No, Leonato, Act. iv. 1.
336. She dying, Act iv. 1 [the idea of her life].
For look where Beatrice and What fire is in mine ears, Act II. 1.
337. Monsieur Love . . . This can be no trick, Act 11. 3. Disdain and scorn, Act II. 1.
who have felt, Cymbeline, Act III. 2.
They hear the tumult, Cowper's Task, iv. 99-100, 'I behold the tumult, and am still.'
339. And this their life, Act II. 1.
suck melancholy, Act 11. 5.
who morals on the time, Act 11. 7.
Out of these eonvertites, Act v. 4.
In heedless mazes. L'Allegro, 141-142.
[With wanton heed and giddy cunning,
The melting voice through mazes running.]
For ever and a day, Act Iv. 1.
340. We still have slept together, Act 1. 3.
And how like you, Act 111. 2.
341. Blow, blow, Act 11. 7.
an If, Act v. 4.
Think not I love him, Act 11. 5.
THE TAMING OF THE SHREW
342. Think you a little din, Act 1. 2.
I'll woo her, Act II. 1.
343. Tut, she's a lamb, Act 111. 2.
344. Good morrow, gentle mistress, Áct iv. 5.
The mathematics, Act 1. 1.
The Honey-Moon. A successful play by John Tobin (1770-1804) with a plot similar to that of The Taming of the Shrew, produced at Drury Lane January 31, 1805.
Tranio, I saw her coral lips, Act 1. I.
345. I knew a wench, Act iv. 4.
Indifferent well, Act 1. 1.
for a pot and I am Christopher Sly, Induc. Scene 2.
The Slies are no rogues, Induc. Scene 1.
MEASURE FOR MEASURE
345. The height of moral argument. Lost, 1. 1. 24.
The highth of this great argument,' Paradise
346. one that apprehends death, Act iv. 2.
He has been drinking, Act iv. 3.
wretches, Schlegel, p. 387.
as the flesh, Act II. 1.
A bawd, sir? and Go to, sir, Act iv. 2.
347. there is some soul of goodness. Henry V., Act iv. 1.
Let me know the point, Act II. 1.
348. Reason thus with life, Act II. 1.
THE MERRY WIVES OF WINDSOR
349. commanded to shew the knight. Cf. Schlegel, p. 427.
350. some faint sparks. Hamlet, Act v. 1 [your flashes the table on a roar] to eat. 2 Henry IV., Act II. 1.
to be no more so familiarity. 2 Henry IV., Act 11. 1.
an honest, Act 1. 4.
very good discretions.
cholers, Act II. 1.
Cf. Act 1. I.
THE COMEDY OF ERRORS
352. How long hath this possession, Act v. 1.
353. They brought one Pinch, Act v. 1.
DOUBTFUL PLAYS OF SHAKESPEAR
353. All the editors, Schlegel, p. 442.
at the blackness, Schlegel, see above.
357. a lasting storm. Per., IV. I [whirring me from my friends].
POEMS AND SONNETS
as broad and casing. Macbeth, Act . [broad and general as the casing air]. cooped. Cf. Macbeth, Act 111. 4 [cabined, cribbed, confined].
glancing from heaven. A Midsummer Night's Dream, Act v. I.
359. Oh! idle words. Lucrece, ll. 1016-1122 [Out, idle words, be you mediators]. Round hoofd. Venus and Adonis, 11. 295-300.
And their heads. A Midsummer Night's Dream, Act iv. I.
360. Constancy. Sonnet xxv.
Love's Consolation. Sonnet XXIX.
Novelty. Sonnet CI. [stops her pipe].
361. Life's Decay. Sonnet LXXIII.
A LETTER TO WILLIAM GIFFORD, ESQ.
William Gifford (1756-1826), the son of a glazier, after a neglected childhood, during which he was at one time apprenticed to a shoemaker, entered Exeter College, Oxford, through the kindness of a friend, and graduated in 1782. His two satires, The Baviad (1791) and The Maviad (1795), were published together in 1797, and his translation of Juvenal, upon which he had been working since he left Oxford, in 1802. He became editor of The Anti-Jacobin (1797), and was the first editor (1809-1824) of The Quarterly Review. He published a translation of Persius in 1821, and editions of some of the old dramatists: Massinger (1805), Ben Jonson (1816), Ford (1827), and Shirley (completed by Dyce, 1833). In The Examiner for June 14, 1818, appeared a 'Literary Notice,' entitled "The Editor of the Quarterly Review,' which Hazlitt incorporated in the present 'Letter.'