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