«Собрание сочинений Уильяма Хэзлитта, том 1»

The married lady. The Tatler, No. 104.

9. The lover and his mistress. The Tatler, No. 94.

The bridegroom. The Tatler, No. 82.

Mr. Eustace and his wife. The Tatler, No. 172.

The fine dream. The Tatler, No. 117.

Mandeville’s sarcasm. Bernard Mandeville (d. 1733), author of The Fable of the Bees.

Westminster Abbey. The Spectator, No. 26.

Royal Exchange. The Spectator, No. 69.

The best criticism. The Spectator, No. 226.

10. Note. An original copy of the ‘Tatler.’ The octavo edition of 1710–11.

О СОВРЕМЕННОЙ КОМЕДИИ

Это эссе не входило в серию «Круглый стол», но было опубликовано в «Экзаминере» от 20 августа 1815 года под заголовком «Театральный обозреватель». Оно было по существу повторено в «Лекциях об английских комических писателях» (Лекция VIII, «О комических писателях прошлого века») и переиздано дословно в посмертном томе под названием «Критика и драматические эссе об английской сцене» (1851). Эссе практически является перепечаткой первого из двух писем, которые Хэзлитт написал в «Морнинг Кроникл» (25 сентября и 15 октября 1813 года). Второе из этих писем не переиздавалось.

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10. ‘Where it must live, or have no life at all.’ Othello, Act. II. Scene 4.

11. ‘See ourselves as others see us.’ Burns, ‘To a Louse.’

Wart. He means Shadow. See 2 Henry IV., Act III. Scene 2.

12. Lovelace, etc. Nearly all these characters are discussed in the English Comic Writers. Sparkish is in Wycherley’s Country Wife, Lord Foppington in Vanbrugh’s Relapse, Millamant in Congreve’s Way of the World, Sir Sampson Legend in Congreve’s Love for Love.

We cannot expect, etc. This paragraph appeared originally in The Morning Chronicle, October 15, 1813.

13. ‘That sevenfold fence.’ ‘The seven-fold shield of Ajax cannot keep the battery from my heart.’ Antony and Cleopatra, Act IV. Scene 14. This passage is taken by Hazlitt from his own Reply to Malthus (1807).

‘Mr. Smirk, you are a brisk man.’ Foote’s Minor, Act II.

Aristotle. In the Poetics.

‘Warm hearts of flesh and blood,’ etc. Quoted, with omissions and variations, from a passage in Burke’s Reflections on the Revolution in France (Select Works, ed. Payne, ii. 101).

14. ‘Men’s minds are parcel of their fortunes.’ Antony and Cleopatra, Act III. Scene 13.

О ЯГО В ИСПОЛНЕНИИ МИСТЕРА КИНА

Переиздано с небольшими изменениями из «Экзаминера» от 24 июля 1814 года. Впоследствии Хэзлитт опубликовал оригинальную статью в «Взгляде на английскую сцену» (1818) и заимствовал из нее в «Характерах пьес Шекспира» (см. выше, стр. 206–7).

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14. A contemporary critic. This was Hazlitt himself who made this criticism of Kean in an article in The Morning Chronicle (May 9, 1814), reprinted in A View of the English Stage.

‘Hedged in with the divinity of kings.’ From Hamlet, Act IV. Scene 5.

15. Play the dog, etc. 3 Henry VI., Act V. Scene 6.

16. ‘His cue is villainous melancholy,’ etc. King Lear, Act I. Scene 2.

О ЛЮБВИ К РОДНОЙ СТОРОНЕ

Это эссе было одним из серии под названием «Общие места» (№ III) и появилось в «Экзаминере» 27 ноября 1814 года, до начала серии «Круглый стол». Поэтому оно не было адресовано, как утверждается, «редактору «Круглого стола»». Большая его часть была повторена в «Лекциях об английских поэтах» (1818) в конце Лекции V о Томсоне и Купере.

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17. Rousseau in his ‘Confessions.’ Partie I. Livre III.

18. The minstrel. See Beattie’s Minstrel, Book I. st. 9.

20. ‘A farewell sweet.’

‘If chance the radiant sun, with farewell sweet,

Extend his evening beam,’ etc.

Paradise Lost, II. 492.

‘To me the meanest flower,’ etc. Wordsworth’s Ode, Intimations of Immortality.

‘Nature did ne’er betray,’ etc. Wordsworth’s Lines composed a few miles above Tintern Abbey.

21. ‘Or from the mountain’s sides.’ Collins’s Ode to Evening, stanzas 9 and 10.

О ПОСМЕРТНОЙ СЛАВЕ

Это эссе не входит в серию «Круглый стол». Оно появилось в «Экзаминере» 22 мая 1814 года.

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22. ‘Blessings be with them’ etc. Wordsworth’s Personal Talk, stanza 4.

‘Nor sometimes forget,’ etc. Paradise Lost, III. 33 et seq.

Note. A part of the passage here referred to (from The Reason of Church Government urged against Prelacy) is quoted by Hazlitt in his Lectures on the English Poets (on Shakspeare and Milton).

23. ‘Famous poets’ wit.’ See The Faerie Queene, Verses addressed by the author, No. 2. ‘Have not the poems of Homer,’ etc. The Advancement of Learning, First Book, VIII. 6.

‘Because on Earth,’ etc. See Dante’s Inferno, Canto iv. Cf. ‘On Fames eternall beadroll worthie to be fyled.’ The Faerie Queene, Book IV. Canto ii. st. 32.

‘Every variety of untried being.’

‘Through what variety of untried being,

Through what new scenes and changes must we pass!’

Addison’s Cato, Act V. Scene 1.

24. Note. ‘Oh! for my sake,’ etc. Sonnet No. III. ‘Desiring this man’s art,’ etc. Sonnet No. 29.

О «МОДНОМ БРАКЕ» ХОГАРТА

Это эссе (из «Экзаминера» от 5 июня 1814 года) и следующее за ним (от 19 июня 1814 года), продолжающее ту же тему, были (по существу) переизданы в «Английских комических писателях» (см. Лекцию VII о работах Хогарта), а также в «Очерках главных картинных галерей Англии» и т. д. (1824).

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25. The late collection. In 1814.

‘Of amber-lidded snuff-box.’ Pope’s Rape of the Lock, IV. 123.

26. ‘A person, and a smooth dispose,’ etc. Othello, Act I. Scene 3.

‘Vice loses half its evil in losing all its grossness.’ Burke’s Reflections on the Revolution in France (Select Works, ed. Payne, ii. 89).

ПРОДОЛЖЕНИЕ ТЕМЫ

28. What Fielding says. See Tom Jones, Book IV. Chap. i.

30. ‘All the mutually reflected charities.’ Burke’s Reflections on the Revolution in France (Select Works, ed. Payne, ii. 40).

‘Frequent and full,’ etc. See Paradise Lost, III. 795–797.

31. Note. The ‘Reflector.’ For 1811. The essay is included in Poems, Plays and Miscellaneous Essays of Charles Lamb (ed. Ainger).

О «ЛИСИДЕ» МИЛЬТОНА

№ 15 серии «Круглый стол».

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31. ‘At last he rose,’ etc. Lycidas, 192–193.

Dr. Johnson. See his Life of Milton (Works, Oxford ed., vii. 119).

‘Most musical, most melancholy.’ Il Penseroso, l. 62.

‘With eager thought warbling his Doric lay.’ Lycidas, l. 189.

32. ‘Together both,’ etc. Lycidas, ll. 25 et seq.

‘Oh fountain Arethuse,’ etc. Lycidas, ll. 85 et seq.

33. ‘Like one that had been led astray,’ etc. Il Penseroso, ll. 69–70.

‘Next Camus,’ etc. Lycidas, ll. 103 et seq.

Has been found fault with. By Dr. Johnson in his Life of Milton (Works, Oxford ed., vii. 120).

Camoens, who, in his ‘Lusiad.’ See The Lusiads, Canto ii. stanzas 56 et seq.

34. ‘The muses in a ring,’ etc. Il Penseroso, ll. 47–48.

‘Have sight of Proteus,’ etc. Wordsworth’s Sonnet, ‘The world is too much with us.’

‘Return, Alphaeus,’ etc. Lycidas, ll. 132 et seq.

35. Dr. Johnson. Johnson does not seem to have been offended by the dolphins in particular.

The picture by Barry. ‘The triumph of the Thames,’ number 4 of the six pictures painted by James Barry (1741–1806) for the Society of Arts. Johnson’s friend, Dr. Charles Burney (1726–1814) figures as one of the renowned dead.

‘Here’s flowers for you’ etc. Winter’s Tale, Act. IV. Scene 4.

36. Dr. Johnson’s ‘general remark,’ etc. See his Life of Milton (Works, Oxford ed., vii. 119, 131), and Boswell’s Life of Johnson (ed. G. B. Hill), iv. 305.

О СТИХОСЛОЖЕНИИ МИЛЬТОНА

№ 16 серии «Круглый стол». Хэзлитт широко использовал это эссе для своей лекции о Шекспире и Мильтоне. См. «Лекции об английских поэтах».

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37. ‘Makes Ossa like a wart.’ Hamlet, Act V. Scene 1.

‘Sad task, yet argument,’ etc. Quoted, with omissions, from Paradise Lost, IX. 13–45.

37. ‘Him followed Rimmon,’ etc. Paradise Lost, I. 467–469.

‘As when a vulture,’ etc. Paradise Lost, III. 431–439.

38. It has been said, etc. Hazlitt probably refers to Coleridge. See his Lectures on Shakspeare (Bell’s ed., p. 526).

‘He soon saw within ken,’ etc. Paradise Lost, III. 621–634.

39. Dr. Johnson. Hazlitt somewhat exaggerates Johnson’s strictures on Milton. See The Rambler, Nos. 86, 88, and 90.

‘His hand was known,’ etc. Paradise Lost, I. 732–747.

‘But chief the spacious hall,’ etc. Paradise Lost, I. 762–788. In The Examiner Hazlitt has a note to the words ‘brush’d with the hiss of rustling wings,’ pointing out that it was one of Dr. Johnson’s speculations, that all imitative sound is merely fanciful. He refers probably to The Rambler, No. 94.

40. ‘Round he surveys,’ etc. Paradise Lost, III. 555–567.

‘In many a winding bout,’ etc. L’Allegro, ll. 139–140.

41. ‘The hidden soul of harmony.’ L’Allegro, l. 144.

Note. Hazlitt quoted these couplets again in his Lectures on the English Poets. See Lecture IV. on Dryden and Pope.

О МАНЕРЕ

Это эссе составлено из двух статей серии «Круглый стол», № 17 и 18. Хэзлитт, однако, опустил большую часть № 18, в начале которой он обсуждал версию «Цветка и листа» Драйдена. № 18 был опубликован в «Уинтерслоу» (1839) под названием «Материя и манера».

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42. Says Lord Chesterfield. ‘Observe the looks and countenances of those who speak, which is often a surer way of discovering the truth than what they say.’ Letters to his Son, No. cxxx.

Than his sentiments. In The Examiner appears the following note on this passage: ‘We find persons who write what may be called an impracticable style; and their ideas are just as impracticable. They have as little tact of what is going on in the world as of the habitual meaning of words. Other writers betray their natural disposition by affectation, dryness, or levity of style. Style is the adaptation of words to things. Dr. Johnson had no style, that is, no scale of words answering to the differences of his subject. He always translated his ideas into the highest and most imposing form of expression, or more properly, into Latin words with English terminations. Goldsmith said to him, “If you had to write a fable, and to introduce little fishes speaking, you would make them talk like great whales.” It is a satire on this kind of taste that the most ignorant pretenders are in general what is generally understood by the finest writers. Women generally write a good style, because they express themselves according to the impression which things make upon them, without the affectation of authorship. They have besides more sense of propriety than men.’ For the story of Goldsmith see Boswell’s Life of Johnson (ed. G. B. Hill), ii. 231.

43. One of the most pleasant, etc. It is evident from a passage in Table Talk (on Coffee-House Politicians) that this friend is Leigh Hunt, and that ‘another friend’ is Lamb.

‘As dry as the remainder biscuit,’ etc. As You Like It, Act II. Scene 7.

‘Learning is often,’ etc. 2 Henry IV., Act IV. Scene 3.

44. Lord Chesterfield’s character of the Duke of Marlborough. Letters to his Son, No. clxviii.

45. Note 1. It appears from a MS. note in a copy of the 1817 edition that Hazlitt here refers to Lord Castlereagh.

The greatest man, etc. Napoleon. Cf. Table Talk (on Great and Little Things) and Life of Napoleon, Chap. lvii.

Note 2. A sonnet to the King. This must be the sonnet beginning—

‘Now that all hearts are glad, all faces bright’

to which Hazlitt referred again in Political Essays (‘Illustrations of The Times Newspaper’). Wordsworth’s attack on a set of gipsies was in the poem entitled ‘Gipsies’ (1807).

‘In a wise passiveness.’ Expostulation and Reply (1798).

In the ‘Excursion’. Book VIII.

‘They are a grotesque ornament,’ etc. ‘Nobility is a graceful ornament to the civil order.’ Burke’s Reflections on the Revolution in France (Select Works, ed. Payne, ii. 164).

This is enough. In The Examiner Hazlitt adds: ‘We really have a very great contempt for any one who differs from us on this point.’

46. The Story of the glass-man. The Barber’s story of his Fifth Brother.

That manner is everything. ‘Sheer impudence answers almost the same purpose. “Those impenetrable whiskers have confronted flames.” Many persons, by looking big and talking loud, make their way through the world without any one good quality. We have here said nothing of mere personal qualifications, which are another set-off against sterling merit. Fielding was of opinion that “the more solid pretensions of virtue and understanding vanish before perfect beauty.” “A certain lady of a manor” (says Don Quixote[90] in defence of his attachment to Dulcinea, which however was quite of the Platonic kind), “had cast the eyes of affection on a certain squat, brawny lay-brother of a neighbouring monastery, to whom she was lavish of her favours. The head of the order remonstrated with her on this preference shown to one whom he represented as a very low, ignorant fellow, and set forth the superior pretensions of himself, and his more learned brethren. The lady having heard him to an end made answer: All that you have said may be very true; but know, that in those points which I admire, Brother Chrysostom is as great a philosopher, nay greater than Aristotle himself!” So the Wife of Bath:[91]—

“To church was mine husband borne on the morrow

With neighbours that for him maden sorrow,

And Jenkin our clerk was one of tho:

As help me God, when that I saw him go

After the bier, methought he had a pair

Of legs and feet, so clean and fair,

That all my heart I gave unto his hold.”

“All which, though we most potently believe, yet we hold it not honesty to have it thus set down.”’[92]—Note by Hazlitt in The Examiner, September 3, 1815.

Note. Sir Roger de Coverley. The Spectator, No. 130.

47. The successful experiment. See Peregrine Pickle, Chap, lxxxvii.

О СКЛОННОСТИ К СЕКТАНТСТВУ

№ 19 серии «Круглый стол».

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49. Note 1. The Freedom of the Will of Jonathan Edwards (1703–1758) was published in 1754. Edwards was, of course, an American, as Flower reminded Hazlitt in his letter referred to below (49, note 2).

‘Hid from ages.’ Colossians, i. 26.

Note 2. Benjamin Flower, in a reply which he wrote to this essay (The Examiner, October 8, 1815), pointed out the ‘phenomenon’ of a Quaker poet ‘appeared about thirty years since, Mr. Scott of Amwell, whose volume of poetry obtained the marked approbation of our acknowledged best critics.’ Johnson said of John Scott of Amwell’s (1730–1783) Elegies, ‘they are very well; but such as twenty people might write’ (Boswell’s Life of Johnson, ed. G. B. Hill, ii. 351). Another correspondent, signing himself ‘B. B.,’ wrote a letter to The Examiner (September 24, 1815), protesting against Hazlitt’s sketch of Quakerism. This was no doubt Bernard Barton (1784–1849), another Quaker poet, and afterwards the friend of Lamb.

50. ‘There is some soul of goodness,’ etc. Henry V., Act IV. Scene 1.

‘Evil communications,’ etc. 1 Corinthians, xv. 33.

О ДЖОНЕ БАНКЛЕ

№ 20 серии «Круглый стол».

«Жизнь Джона Банкла, эсквайра» Томаса (не Джона) Эмори (1691?–1788) была опубликована в двух томах в 1756–1766 годах. Новое издание в трех томах было опубликовано в 1825 году, весьма вероятно, по рекомендации Хэзлитта. См. «Мемуары Уильяма Хэзлитта», ii. 198. Цитата из настоящего эссе находится на обороте титульного листа нового издания (том i). Том, содержащий наиболее читабельные части книги и удачно озаглавленный «Дух Банкла», был опубликован в 1823 году. Книга была большим фаворитом как Лэма, так и Хэзлитта.

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52. Botargos. ‘Hard roes of mullet called botargos.’ Urquhart’s Rabelais, I. xxi.

53. ‘Man was made to mourn.’

‘Who breathes, must suffer; and who thinks, must mourn.’

Prior, Solomon on the Vanity of the World, III. 240.

He danced the Hays.

‘I will play on the tabor to the worthies, and let them dance the hay.’

Love’s Labour’s Lost, Act V. Scene 1.

A mistress and a saint in every grove. Goldsmith’s Traveller, 152.

‘Most dolphin-like.’ Antony and Cleopatra, Act V. Scene 2.

‘And there the antic sits,’ etc. Richard II., Act III. Scene 2.

56. Philips’s. The Pastorals of Pope and Ambrose Philips (1675?-1749) appeared in Tonson’s Miscellany (1709).

Sannazarius. An English translation of the Piscatory Eclogues of Jacopo Sannazario was published in 1726.

‘What he beautifully calls,’ etc. See The Complete Angler, Part I. Chap. i.

‘We accompany them,’ etc. The Complete Angler, Part I. Chap. iv. The milkmaid sang ‘Come live with me, and be my love.’ That ‘smooth song’ (says Walton) ‘which was made by Kit Marlowe, now at least fifty years ago.

And the milkmaid’s mother sung an answer to it, which was made by Sir Walter Raleigh in his younger days.’

57. Tottenham Cross. The subject of one of the prints.

Note. His friendship for Cotton. Charles Cotton (1630–1687), the translator of Montaigne (1685).

Note. Dr. Johnson said. See Mrs. Piozzi’s Anecdotes (Johnsonian Miscellanies, ed. G. B. Hill, i. 332).

О ПРИЧИНАХ МЕТОДИЗМА

№ 22 серии «Круглый стол». Ли Хант обсуждал эту статью в № 24 серии, переизданной в издании «Круглого стола» 1817 года под названием «О поэтическом характере». По вопросу о методизме Хант уже высказал свое мнение в серии статей в «Экзаминере», которые он переиздал в 1809 году под названием «Попытка показать глупость и опасность методизма».

PAGE

58. ‘To sinner it or saint it.’ Pope’s Moral Essays, Ep. II. l. 15.

‘The whole need not a physician.’ St. Matthew, ix. 12.

‘Conceit in weakest,’ etc. Hamlet, Act III. Scene 4.

59. Mawworm. In Isaac Bickerstaffe’s Hypocrite, altered from Colley Cibber’s Nonjuror, which was itself ‘a comedy threshed out of Molière’s Tartuffe.’ See the Lecture on the Comic Writers of the Last Century in English Comic Writers. For Oxberry’s acting of the part see A View of the English Stage.

‘With sound of bell,’ etc. As You Like It, Act II. Scene 7.

‘Round fat oily men of God,’ etc. Thomson’s Castle of Indolence, stanza 69.

‘That burning and shining light.’ St. John, v. 35.

Note. ‘And filled up all the mighty void of sense.’ Pope’s Essay on Criticism, l. 210.

60. ‘The vice,’ etc. Hebrews, xii. 1.

‘The Society for the Suppression of Vice.’ Founded in 1802. Sydney Smith criticised its methods in one of his Edinburgh Review articles (Jan. 1809). Hazlitt refers to it again. See ante, p. 139.

‘And sweet religion,’ etc. Hamlet, Act III. Scene 4.

‘Numbers without number.’ Paradise Lost, III. 346.

61. ‘Dissolves them,’ etc. Il Penseroso, ll. 165–166.

О «СОНЕ В ЛЕТНЮЮ НОЧЬ»

№ 26 серии «Круглый стол». Эссе было по существу переиздано в «Характерах пьес Шекспира». См. выше, стр. 244–248, и примечания к ним.

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64. ‘Age cannot wither,’ etc. Antony and Cleopatra, Act II. Scene 2.

‘’Tis a good piece of work,’ etc. The Taming of the Shrew, Act I. Scene 2.

‘Would, cousin Silence,’ etc. 2 Henry IV., Act III. Scene 2. The dialogue on the death of old Double occurs earlier in the same scene.

‘The most fearful wild-fowl living.’ Midsummer Night’s Dream, Act III. Scene 1.

At the end of this essay in The Examiner Hazlitt added the following ‘Note Extraordinary’: ‘We had just concluded our ramble with Puck and Bottom, and were beginning to indulge in some less airy recreations, when in came the last week’s Cobbett,[93] and with one blow overset our Round Table, and marred all our good things. If while Mr. C. and his lady are sitting in their garden at Botley, like Adam and Eve in Paradise, the delight of one another, the envy of their neighbours, and the admiration of the rest of the world, suddenly a large fat hog from the wilds of Hampshire should bolt right through the hedge, and with snorting menaces and foaming tusks, proceed to lay waste the flower-pots and root up the potatoes, such as the surprise and indignation of so economical a couple would be on this occasion, was the consternation at our Table when Mr. Cobbett himself made his appearance among us, vowing vengeance against Milton and Shakespear, Sir Hugh Evans and Justice Shallow, and all the delights of human life. We were not prepared for such an onset. More barbarous than Mr. Wordsworth’s calling Voltaire dull,[94] or than Voltaire’s calling Cato the only English tragedy;[95] more barbarous than Mr. Locke’s admiration of Sir Richard Blackmore; more barbarous than the declaration of a German Elector—afterwards made into an English king—that he hated poets and painters; more barbarous than the Duke of Wellington’s letter to Lord Castlereagh,[96] or than the Catalogue Raisonné of the Flemish Masters published in the Morning Chronicle,[97] or than the Latin style of the second Greek scholar[98] of the age, or the English style of the first:—more barbarous than any or all of these is Mr. Cobbett’s attack on our two great poets. As to Milton, except the fine egotism of the situation of Adam and Eve, which Mr. Cobbett has applied to himself, there is not much in him to touch our politician: but we cannot understand his attack upon Shakespear, which is cutting his own throat. If Mr. Cobbett is for getting rid of his kings and queens, his fops and his courtiers, if he is for pelting Sir Hugh and Falstaff off the stage, yet what will he say to Jack Cade and First and Second Mob? If we are to scout the Roman rabble, where will the Register find English readers? Has the author never found himself out in Shakespear? He may depend upon it he is there, for all the people that ever lived are there! Has he never been struck with the valour of Ancient Pistol, who “would not swagger in any shew of resistance to a Barbary-hen”?[99] Can he not, upon occasion, “aggravate his voice”[100] like Bottom in the play? In absolute insensibility, he is a fool to Master Barnardine; and there is enough of gross animal instinct in Calyban to make a whole herd of Cobbetts. Mr. Cobbett admires Bonaparte; and yet there is nothing finer in any of his addresses to the French people than what Coriolanus says to the Romans when they banish him. He abuses the Allies in good set terms; yet one speech of Constance describes them and their magnanimity better than all the columns of the Political Register. Mr. Cobbett’s address to the people of England[101] on the alarm of an invasion, which was stuck on all the church-doors in Great Britain, was not more eloquent than Henry V.’s address to his soldiers before the battle of Agincourt; nor do we think Mr. Cobbett was ever a better specimen of the common English character than the two soldiers in the same play. After all, there is something so droll in his falling foul of Shakespear for want of delicacy, with his desperate lounges and bear-garden dexterity, snorting, fuming, and grunting, that we cannot help laughing at the affair, now that our surprise is over; as we suppose Mr. Cobbett does, if he can only keep him out of his premises by hallooing and hooting or dry blows, to see his old friend, Grill,[102] trudging along the highroad in search of his acorns and pig-nuts.’

«ОПЕРА НИЩЕГО»

Один из «Театральных обозревателей» Хэзлитта, опубликованный в «Экзаминере» 18 июня 1815 года.

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65. The Beggar’s Opera was produced at Lincoln’s Inn Fields on January 29, 1728.

‘Happy alchemy of mind,’ etc. Cf. Boswell (Life of Johnson, ed. G. B. Hill, iii. 65): ‘I have ever delighted in that intellectual chymistry, which can separate good qualities from evil in the same person.’

‘O’erstepping the modesty of nature.’ Hamlet, Act III. Scene 2.

‘Woman is like,’ etc. Beggar’s Opera, Act I.

Taken from Tibullus. Hazlitt probably means Catullus and refers to the lines (Carm. 62)

‘Ut flos in saeptis secretus nascitur hortis,’ etc.

‘I see him sweeter,’ etc. Act I.

‘There is some soul of goodness in things evil.’ Henry V., Act IV. Scene 1.

66. ‘Hussey, hussey,’ etc. Beggar’s Opera, Act I.

Miss Hannah More’s laboured invectives. Such as Thoughts on the Importance of the Manners of the Great to General Society (1788) and An Estimate of the Religion of the Fashionable World (1790). See ante, p. 154, for another expression of Hazlitt’s belief in the disciplinary value of The Beggar’s Opera.

Note. For further reference to Baron Grimm’s Correspondance (1812–14) see ante, p. 131, the essay ‘On the Literary Character.’ Claude Pierre Patu (1729–1757) published Choix de pièces traduites de l’anglais (de Robert Dodsley et John Gay) in 1756. The collected works of Jean Joseph Vadé (1720–1757) were published in 1775.

О ПАТРИОТИЗМЕ — ФРАГМЕНТ

Этот фрагмент взят из одной из «Иллюстраций Ветуса», которые первоначально появились в «Морнинг Кроникл» и были переизданы в «Политических эссе».

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67. ‘The love of mankind‘, etc. Rousseau’s Emile, Liv. IV. p. 279 (edit. Garnier): a favourite quotation of Hazlitt’s.

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68. Three Papers, etc. Reynolds’s papers in the Idler are Nos. 76, 79, and 82. It is to the last, On the true idea of Beauty, that Hazlitt particularly refers.

69. Spenser’s description of Belphœbe. The Faerie Queene, Book II. Canto iii. st. 21 et seq.

70. ‘Her full dark eyes,’ etc. The reference seems to be to Leiden des jungen Werthers (December 6).

71. Pope’s translation. Homer’s Odyssey, V. 56–67.

Note. A classical friend. Leigh Hunt.

Note. ‘That was Arion crown’d,’ etc. The Faerie Queene, Book IV. Canto xi. st. 23 and 24.

Note. A striking description. Burke’s Reflections on the Revolution in France (Select Works, ed. Payne, ii. 89).

Note. The idea is in ‘Don Quixote.’ Part II. Chap, xlviii. In The Examiner this note was concluded as follows: ‘Much the same impression which the sight of the Queen of France made on Mr. Burke’s brain sixteen years before the French Revolution, did the reading of the New Eloise make on mine at the commencement of it. “Such is the stuff of which our dreams are made!”[103] This man (Burke), who was a half poet and a half philosopher, has done more mischief than perhaps any other person in the world. His understanding was not competent to the discovery of any truth, but it was sufficient to palliate a lie; his reasons, of little weight in themselves, thrown into the scale of power, were dreadful. Without genius to adorn the beautiful, he had the art to throw a dazzling veil over the deformed and disgusting, and to strew the flowers of imagination over the rotten carcase of corruption, not to prevent, but to communicate the infection. His jealousy of Rousseau[104] was one chief cause of his opposition to the French Revolution. The writings of the one had changed the institutions of a kingdom; while the speeches of the other, with the intrigues of his whole party, had changed nothing but the turnspit of the King’s kitchen.[105] He would have blotted out the broad, pure light of Heaven, because it did not first shine in upon the narrow, crooked passages of St. Stephen’s Chapel. The genius of Rousseau had levelled the towers of the Bastile with the dust; our zealous reformist, who would rather be doing mischief than nothing, tried therefore to patch them up again, by calling that loathsome dungeon the King’s Castle, and by fulsome adulation of the virtues of a Court Strumpet. This man had the impudence to say[106] that an Elector of Hanover was raised to the throne of these kingdoms, “in contempt of the will of the people,” while the hereditary successor was still alive. He was at once a liar, a coward, and a slave; a liar to his own heart, a coward to the success of his own cause, a slave to the power he despised. See his Letter about the Duke of Bedford, in which the man gets the better of the sycophant, and he belabours the Duke in good earnest. It is not a source of regret to reflect that he closed his eyes on the ruin of liberty, which he had been the principal means of effecting, and of his own projects, at the same time. He did not live to see that deliverance of mankind, bound hand and foot into the absolute, lasting, inexorable power of Kings and Priests, which the author of Joan of Arc[107] has so triumphantly celebrated. He did not live to see the sending of the Liberales of Spain to the gallies, and the liberating the Afrancesadoes from prison, for which our romantic Laureate, who sees so much farther into futurity than the Edinburgh Reviewers,[108] thanks God. He did not live to read that Sonnet[109] to the King which Mr. Wordsworth has written, in imitation of Milton’s Sonnet to Cromwell. There is a species of literary prostitution which has sprung up and spread wide in these days, more nauseous and despicable than any recorded in Juvenal. It proves, however, one thing, that is, the force which knowledge and opinion have acquired, and which makes it worth while for power to court and pervert those faculties which were intended to enlighten and reform the world, in order to plunge it into a darkness that may be felt; and slavery, that can only cease by putting a stop to the propagation of the species.’ Hazlitt used a part of this passage as a note to his essay ‘On Good-Nature.’ See post, p. 105 note.

72. Mr. Burke, etc. See his Essay on the Sublime and Beautiful, Part III. Sect. xv.

Which describe pleasant motions. ‘It has been conjectured that the pleasure derived from visible form, might be always resolved into the absence of every thing disagreeable to the touch or difficult in motion.’ Note by Hazlitt in The Examiner.

‘He hath set his bow,’ etc. Ecclesiasticus, xliii. 11, 12.

Titian’s ‘Bath of Diana.’ Diana and Actaeon, now the property of the Earl of Ellesmere, in Bridgewater House. Hazlitt described this picture at length in his Sketches of the Principal Picture Galleries in England (The Marquis of Stafford’s Gallery).

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73. The new Spurzheim principles. See Hazlitt’s essays ‘On Dreams’ and ‘On Dr. Spurzheim’s Theory’ in The Plain Speaker.

74. Note. Vanhuysum. Jan van Huysum (1682–1749).

75. Pansy freak’d with jet. Lycidas, l. 144.

76. ‘A pleasure in art,’ etc.

‘There is a pleasure in poetic pains,

Which only poets know.’

Cowper’s Task, The Timepiece, ll. 285–286.

Cf. Table Talk (‘On the Pleasure of Painting’): ‘There is a pleasure in painting which none but painters know.’ The original of the expression seems to be Dryden’s ‘There is a pleasure, sure, in being mad, which none but madmen know’ (Spanish Friar, Act II. Scene 1).

Titian’s ‘Schoolmaster.’ For an account of this picture see Hazlitt’s Sketches of the Principal Picture Galleries in England (the Marquis of Stafford’s Gallery).

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77. Albano’s. Francesco Albani (1578–1660), a pupil of Ludovico Caracci.

78. To touch them. In The Examiner Hazlitt gives the following note to this passage: ‘This may seem obscure. We will therefore avail ourselves of our privilege to explain as Members of Parliament do, when they let fall any thing too paradoxical, novel, or abstruse, to be immediately apprehended by the other side of the House. When the Widow Wadman[110] looked over my Uncle Toby’s map of the Siege of Namur with him, and as he pointed out the approaches of his battalion in a transverse line across the plain to the gate of St. Nicholas, kept her hand constantly pressed against his, if my Uncle Toby had then “been an artist and could paint,” (as Mr. Fox wished himself to be,[111] that “he might draw Bonaparte’s conduct to the King of Prussia in the blackest colours”) my Uncle Toby would have drawn the hand of his fair enemy in the manner we have above described. We have heard a good story of this same Bonaparte playing off a very ludicrous parody of the Widow Wadman’s stratagem upon as great a commander by sea as my Uncle Toby was by land. Now, when Sir Isaac Newton, who was sitting smoking with his mistress’s hand in his, took her little finger and made use of it as a tobacco-pipe stopper, there was here a total absence of mind, or a great want of gusto.’

Mr. West. Benjamin West (1738–1820), historical painter, succeeded Sir J. Reynolds as President of the Royal Academy in 1792.

80. ‘Or where Chineses,’ etc. Paradise Lost, III. 438–439.

‘Wild above rule,’ etc. Ib. V. 297.

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80. The pedantry of Parson Adams. See Joseph Andrews, Book III. Chap. v.

Scotch Pedagogue. Roderick Random, Chap. xiv.

Seeing ourselves, etc. Burns, To a Louse, st. 8.

81. Monsieur Jourdain. In Le Bourgeois Gentilhomme.

Note. ‘Not to admire anything.’

‘Nil admirari, prope res est una, Numici,

Solaque, quæ possit facere et servare beatum.’—Horace, Ep. I. vi. I.

82. In the Library, etc. At his father’s house at Wem. See Memoirs of William Hazlitt, i. 33. The Bibliotheca Fratrum Polonorum, etc., was published in eight volumes folio, 1656.

‘From all this world’s,’ etc. ‘From worldly cares himselfe he did esloyne.’ The Faerie Queene, Book I. Canto iv. st. 20. In The Examiner Hazlitt published the following note: ‘Mr. Wordsworth has on a late occasion humorously applied this line of Spenser to persons holding sinecure places under government. He seems to intend adding to the list of such places that of Poet Laureate. This we think a decided improvement on the system.’ The reference is to Wordsworth’s sonnet, ‘Occasioned by the Battle of Waterloo,’ beginning ‘The bard whose soul is meek as dawning day.’

83. ‘Mitigated authors,’ etc. ‘It was this opinion which mitigated kings into companions, and raised private men to be fellows with kings. Without force, or opposition, it subdued the fierceness of pride and power; it obliged sovereigns to submit to the soft collar of social esteem,’ etc. Burke’s Reflections on the Revolution in France (Select Works, ed. Payne, ii. 90).

The Spectator. See The Spectator, No. 131.

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84. A poetical enthusiast. Wordsworth presumably.

‘A clerk ther was,’ etc. Canterbury Tales, Prologue, ll. 285 et seq.

85. ‘Chemist, statesman,’ etc. Dryden’s Absalom and Achitophel, l. 550.

‘Tongues in the trees,’ etc. As You Like It, Act II. Scene 1.

86. Vestris was so far right, etc. Vestris (1729–1808), ‘Le Dieu de la danse,’ said that Europe contained only three great men, himself, Voltaire, and Frederick of Prussia.

We do not see, etc. Johnson and Wordsworth were of the opposite opinion. See Boswell’s Life, ed. G. B. Hill, iv. 114, and Rogers’s Table-Talk, p. 234.

87. In Froissart’s ‘Chronicles.’ Book IV. chapter 14 (Panthéon Litteraire). The man was not a monk at all.

88. ‘The sovereign’st thing on earth.’ 1 Henry IV., Act I. Scene 3.

Uneasy and insecure. In The Examiner the following note is appended: ‘It has been found necessary to cement them with blood. “Plus de belles paroles, messieurs, je veux du sang,” is the language of all absolute sovereigns to their subjects, when the film drops from their eyes which leads mankind to suppose themselves the property of tyrants. If men are to be treated like slaves, it is best that they should think themselves born to be so. Plus de belles paroles. The French Revolution was the necessary consequence of our English Revolution and of the Reformation. A crusade once more to re-establish the infallibility of the Pope all over the Continent would be a logical inference from the late crusade to restore divine right.’

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89. Note. In The Examiner this note was continued as follows: ‘He was the founder of Jacobinism, which disclaims the division of the species into two classes, the one the property of the others. It was of the disciples of his school, where principle is converted into passion, that Mr. Burke said and said truly,—“Once a Jacobin, and always a Jacobin!” The adept in this school does not so much consider the political injury as the personal insult. This is the way to put the case, to set the true revolutionary leaven, the self-love which is at the bottom of every heart, at work, and this was the way in which Rousseau put it. It then becomes a question between man and man, which there is but one way of deciding.’

90. ‘Va Zanetto,’ etc. Part II. liv. 7.

‘Louise Eleonore,’ etc. Part I. liv. 2.

91. ‘As fast,’ etc. Othello, Act V. Scene 2.

There are, indeed, impressions, etc. A quotation from Rousseau’s Confessions. See Hazlitt’s essay entitled ‘My first Acquaintance with Poets.’

92. ‘Ah, voila de la pervenche!’ Confessions, Part I. liv. 6.

Mr. Wordsworth’s discovery. The reference appears to be to Wordsworth’s poem, ‘The Sparrow’s Nest.’

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93. Fitzosborne’s Letters, by William Melmoth the younger (1710–1799), were published in two vols. in 1742–1747. Hazlitt’s quotation seems to be merely a summary of a passage in Letter X. (p. 35, edit. 1748) which is itself quoted from Wollaston’s Religion of Nature Delineated.

Note. Burns. See his autobiographical letter to Dr. John Moore, 2nd August 1787. (Works, ed. Chambers and Wallace, i. 20).

94. ‘Bitter bad judges.’ Beggar’s Opera, Act I. Scene 1.

‘Makes ambition virtue.’ Othello, Act III. Scene 3.

Dr. Johnson. See his Life of Milton (Works, vii. 108).

‘Fame is the spur,’ etc. Lycidas, ll. 70–77.

Pluck its fruits, unripe and crude. Lycidas, l. 3.

95. Hogarth’s ‘Distressed Poet.’ The map of the gold-mines of Peru was substituted in the impression of 1740 for a print of Pope thrashing Curll in the original impression of 1736.

A man of genius and eloquence. Coleridge presumably.

96. Elphinstone. James Elphinston (1721–1809), who superintended an Edinburgh edition of The Rambler, in which he gave English translations of most of the mottoes. This, however, was far from being his only literary enterprise, and it is strange that Hazlitt should ‘know nothing more of him.’ He published many translations, one of which, A Specimen of the Translations of Epigrams of Martial (1778), achieved notoriety from its extreme badness. In his later life he devoted himself to the invention of a kind of phonetic spelling, which he explained in Propriety ascertained in her Picture, or English Speech and Spelling under Mutual Guides (1787), and other works.

Yorick and the Frenchman. Sterne’s Sentimental Journey. The Passport.

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97. A respectable publication. Edinburgh Review, xxvi. p. 96 (Feb. 1816). The passage quoted is from a review by Hazlitt himself of Schlegel’s Lectures on Dramatic Literature.

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100. Says Froissart. This well-known saying is wrongly attributed to Froissart. See Notes and Queries for 1863 and subsequent years.

102. An Englishman, who would be thought a profound one. Wordsworth. See p. 116.

103. Forge the seal of the realm, etc. The allusion seems to be to the events of the spring of 1804 when Lord Eldon, during the king’s illness, affixed the great seal to a commission giving the royal assent to certain bills.

104. Good digestion wait on appetite. Macbeth, Act III. Scene 4.

Without control. In The Examiner Hazlitt appended as a note: ‘Henry VIII. was a good-natured monarch. He cut off his wives’ heads with as little ceremony as if they had been eels. This character ought, as Mr. Cobbett says, to be hooted off the stage, as a disgrace to human nature. Shakspeare represented kings as they were in his time.’

104. Mr. Vansittart. Nicholas Vansittart (1766–1851), created Baron Bexley in 1823, was Chancellor of the Exchequer from 1812 till 1822.

Everything by starts and nothing long. Absalom and Achitophel, Part I. l. 548.

105. Note. This note is part of the note on Burke, which in The Examiner appeared at the foot of the essay ‘On Beauty.’ See ante, p. 71.

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105. ‘As the vine curls her tendrils.’ Paradise Lost, IV. 307.

106. ‘Two of far nobler shape,’ etc. Paradise Lost, IV. 288–311.

107. ‘That day I oft remember,’ etc. Paradise Lost, IV. 449–465.

‘So spake our general mother,’ etc. Paradise Lost, IV. 492–501.

‘So much the more,’ etc. Paradise Lost, V. 8–20.

108. ‘When Adam thus to Eve,’ etc. Paradise Lost, IV. 610–611.

‘To whom thus Eve,’ etc. Paradise Lost, IV. 634.

‘To whom our general ancestor,’ etc. Paradise Lost, IV. 659–660.

‘Methought close at mine ear,’ etc. Paradise Lost, V. 35–47.

‘So talked the spirited sly snake.’ Paradise Lost, IX. 613.

‘So cheered he his fair spouse,’ etc. Paradise Lost, V. 129–135.

109. ‘Under his forming hands,’ etc. Paradise Lost, VIII. 470–477.

‘In shadier bower,’ etc. Paradise Lost, IV. 705–719.

‘Meanwhile at table Eve,’ etc. Paradise Lost, V. 443–450.

110. ‘Yet not more sweet,’ etc. Southey’s Carmen Nuptiale, Proem, stanza 18.

‘O unexpected stroke,’ etc. Paradise Lost, XI. 268–285.

111. ‘This most afflicts me,’ etc. Paradise Lost, XI. 315–333.

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112. ‘Without form and void.’ Genesis, i. 2.

113. ‘The bare trees and mountains bare.’ Wordsworth, ‘To my Sister.’

‘Exchange the shepherd’s flock.’ Excursion, Book VI.

114. ‘The sad historian of the pensive vale.’ Goldsmith’s The Deserted Village, l. 136.

‘Our system is not fashioned,’ etc. Excursion, Book VI.

‘Such as the meeting soul may pierce.’ L’Allegro, l. 138.

‘In that fair clime,’ etc. Excursion, Book IV.

115. ‘Now shall our great discoverers obtain,’ etc. Excursion, Book IV.

116. ‘Poor gentleman,’ etc. Wycherley’s Love in a Wood, Act III. Scene 1.

Dull. Wordsworth speaks of Candide as ‘this dull product of a scoffer’s pen’ (Excursion, Book II.) and refers to it again in Book IV.:—

‘Him I mean

Who penned, to ridicule confiding faith,

This sorry Legend.’

See ante, p. 102.

117. Tout homme reflechi, etc. Cf. ‘J’ose presque assurer que l’état de réflexion est un état contre nature, et que l’homme qui médite est un animal dépravé.’ Rousseau’s Discours sur l’origine de l’inégalité parmi les hommes (édit. Firmin-Didot, p. 52).

‘From that abstraction I was roused,’ etc. Excursion, Book III.

118. ‘For that other loss,’ etc. Excursion, Book IV.

119. ‘What though the radiance,’ etc. Intimations of Immortality, stanza 10.

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120. ‘With glistering spires,’ etc. Paradise Lost, III. 550.

‘The great vision of the guarded mount.’ Lycidas, l. 161.

121. ‘A sudden illness,’ etc. Excursion, Book VI.

123. Aristotle observed. In The Poetics.

Bells or Lancaster’s. Andrew Bell (1753–1832) founder of the Madras system of education, and Joseph Lancaster (1770–1838). For an account of these two rival reformers of education see Leslie Stephen’s The English Utilitarians, II. 17–19.

Guzman d’Alfarache. Hazlitt discussed this novel by Mateo Aleman, published in 1599, in his English Comic Writers (Lecture on the English Novelists).

A discipline of humanity. Bacon’s Essays, ‘Of Marriage and Single Life.’

124. The Whig and Jacobite friends. Excursion, Book VI.

Sir Alfred Irthing. Excursion, Book VII.

‘Have proved a monument.’ From the sonnet in which Wordsworth dedicated The Excursion to Lord Lonsdale.

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127. ‘They had learned the trick,’ etc. Hobbes’s Behemoth (Works, ed. Molesworth, vi. 240).

128. ‘Not matchless,’ etc. Paradise Lost, VI. 341–2.

And in its liquid texture, etc. Paradise Lost, VI. 148–149.

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129. ‘But ’tis not so above.’ Hamlet, Act III. Scene 3.

‘Compelled to give in evidence,’ etc. Ibid.

130. ‘Open and apparent shame.’ 1 Henry IV., Act II. Scene 4.

131. Elymas the sorcerer. See Sketches of the Principal Picture Galleries in England (the Pictures at Hampton Court) where Hazlitt describes this cartoon.

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131. A late number, etc. Edinburgh Review, vol. xxi. July 1813. The Correspondance of Friedrich Melchior, Baron Grimm (1723–1807) was published in 1812–14. The article in the Edinburgh is by Jeffrey. Hazlitt, in The Examiner, quotes from it at greater length, and proceeds: ‘These remarks, however shrewd and ingenious in themselves, are somewhat irrelevant to the literary and philosophical character of Mr. Grimm and his friends. There seems to have been an odd transposition of ideas in the writer’s mind; for the whole of his reasoning relates to the manners of fashionable life, or the tendency of mixed and agreeable society in general, to produce levity and insensibility, and does not at all apply to the peculiar defects of the literary character, or account for that hard-heartedness, which Mr. Burke attributes, by way of emphasis, to the thorough-bred metaphysician.[112] The two characters are evidently distinct, and proceed from very different and even opposite causes, which ought not to have been confounded. It would have been a task worthy of the Edinburgh Reviewers to have pointed out the sources of each, and to have shewn how both appear to have united in the present instance with the natural levity of the French character, to produce that “faultless monster which the world ne’er saw” before.[113] Much is undoubtedly to be given to accidental and local circumstances. Boswell’s Life of Johnson presents a very different picture of men and manners from Grimm’s Memoirs, though in the circle described by the former there were men who at least rivalled M. Grimm in literature, and in politeness and knowledge of mankind might vie with Baron d’Holbach. The profligacy of the French court, and the mummeries of the established religion might naturally produce an almost satiric license and impudence among the enlightened partisans of the new order of things, and lead them to regard all religion as a barefaced cheat, and every pretension to virtue as hypocrisy. The peculiar intelligible features of the philosophical and literary character are, however, stamped on every page of M. Grimm’s correspondence; and as they do not seem to have been very well distinguished by the Reviewer, I shall venture to throw out a few hints on the subject, in the hope that they may be taken up and embodied in an authentic form in some future supplementary volume.’

133. Multiplicity of persons and things. Hazlitt quotes with characteristic inaccuracy the Edinburgh article on Grimm (see p. 131). A few lines further on he speaks of a ‘succession of persons and things.’

Rocks of Meillerie. La Nouvelle Héloïse, Part IV. 17.

135. Mr. Shandy. Tristram Shandy, V. Chap, iii., where Sterne tells the story of Cicero and his daughter referred to in the text.

‘Hæret lateri,’ etc. Virgil, Aeneid, V. 73.

‘Clad in flesh and blood.’ From Burke, Reflections on the Revolution in France (Select Works, ed. Payne, ii. 101).

The ghosts of Homer’s heroes. Odyssey, Book XI.

‘Play round the head, but never reach the heart.’

‘All fame is foreign, but of true desert;

Plays round the head, but comes not to the heart.’

Pope’s Essay on Man, IV. 254.

Hazlitt’s letter in The Morning Chronicle concluded as follows: ‘There is another very striking distinction between the indifference and insensibility to moral good and evil, to be met with in the philosopher or the man of the world, which the Reviewer has not pointed out. In the one, it is the effect of “frivolity, dissipation, and familiarity with vice”; in the other, it is oftener the effect of disappointed hope and early enthusiasm. The aversion of the philosopher to moral speculations has almost always the same source as the exclamation of Brutus, “Oh Virtue! I embraced thee as a substance, and I find thou art a shadow!” There is hardly any one of the persons who figure in these memoirs who did not set out with some panacea for the salvation of mankind, with as much sanguine extravagance as ever knight-errants indulged to conquer giants and rescue distressed damsels. The wounds received in the conflict might close, but the scar would remain. Indeed, the practical knowledge of vice and misery makes a stronger impression on the mind, when it has once imbibed a habit of abstract reasoning. Evil thus becomes embodied in a general principle, and shews its happy form in all things. It is a fatal, inevitable necessity hanging over us. It follows us wherever we go—if we fly into the uttermost parts of the earth, it is there; whether we turn to the right or the left, we cannot escape from it.

‘This, it is true, is the disease of philosophy; but it is one to which it is liable in minds of a certain cast, after the first ardour of expectation has been disabused by experience, and the finer feelings have received an irrecoverable shock from the jarring of the world.

‘There seems a peculiar tenaciousness in the French character in this respect, an unfortunate aptitude to cling to every vice and catch at every folly, or else a want of freshness of feeling, of that elastic force about the heart which repels the approach of moral or intellectual depravity.

‘What is said of the tone of the literary society of Paris, is equally misunderstood. The Reviewers hardly mean to represent the exclusion of tediousness and pertinacious wrangling, as the general character of assemblies of wits, and philosophers in all ages and nations. If so, their opinion differs from that of the Sage. The fact is, that the men of letters at this period, by mixing in the fashionable circles, took the tone of good company, as the people of fashion, by their familiarity with men of letters, received the tincture of philosophy. The two characters were blended together in real life, and are confounded in the Edinburgh Review.’

135. Note. Plato’s Cave. Republic, Book VII.

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136. Tout homme réfléchi, etc. See note to p. 117.

‘Nor can I think what thoughts they can conceive.’ Dryden, The Hind and the Panther, Part I. l. 315.

We have already. In a paper (by Leigh Hunt) On Commonplace People (Examiner, March 19, 1815).

138. The music which has been since introduced, etc. The famous ‘Macbeth music’ written for D’Avenant’s version produced, according to Genest, in 1672. This music, traditionally assigned to Matthew Locke, is now attributed to Purcell.

139. Mr. Westall’s drawings. Richard Westall (1765–1836).

Horne Tooke’s account, etc. See The Diversions of Purley and Hazlitt’s essay on Horne Tooke in The Spirit of the Age.

‘For true no-meaning puzzles more than wit.’ Pope’s Moral Essays, II. 114.

The new Schools for all. For the famous educational schemes of Andrew Bell and Joseph Lancaster and for Bentham’s Panopticon, see Leslie Stephen’s English Utilitarians.

The Penitentiary. Millbank Prison, formerly known as the Penitentiary, was the ultimate result of Bentham’s Panopticon scheme and was opened in 1816.

The new Bedlam. The new Bedlam Hospital was opened in 1815.

The new steamboats. The first steamboat had been launched on the Clyde in 1812.

The gaslights. The Chartered Gas Company obtained its Act of Parliament in 1810.

The Bible Society. The British and Foreign Bible Society was established in 1804.

The Society for the Suppression of Vice. See ante, note to p. 60.

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Эти две статьи взяты (со значительными изменениями) из двух последних из трех «Литературных уведомлений», посвященных Каталогу, которые Хэзлитт предоставил «Экзаминеру» 3, 10 и 17 ноября 1816 года. Первое из этих «Литературных уведомлений» никогда не переиздавалось Хэзлиттом. Все три были переизданы в их форме для «Экзаминера» во втором томе «Критики об искусстве» и т. д. (2 тома, 1843–44), под редакцией сына автора, который исключил из своего издания «Круглого стола» два эссе, представленных в настоящем тексте. Все три эссе будут включены в более поздний том настоящего издания.

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140. Our former remarks. In The Examiner, Nov. 3, 1816.

141. The Prince Regent’s new sewer. Presumably the Regent’s Canal, part of which was opened in 1814.

142. ‘The scale by which,’ etc. Paradise Lost, VIII. 591.

Mrs. Peachum’s coloured handkerchiefs. Beggar’s Opera, Act 1.

143. ‘A name great above all names.’ Philippians, ii. 9.

143. Mr. Payne Knight. Richard Payne Knight gave evidence in 1816 before a Select Committee of the House of Commons upon the value of the Elgin Marbles. He placed them in the second rank of art, and valued them at £25,000. They were bought by the nation for £35,000. Haydon the artist wrote a long letter to The Examiner (March 17, 1816) on the subject, entitled ‘On the Judgment of Connoisseurs being preferred to that of Professional Men, Elgin Marbles, etc.’

144. Mr. Soane. John Soane (1753–1837), knighted in 1831. His house and its contents, presented by him to the nation in 1833, now form the Soane Museum.

‘With riches fineless.’ Othello, Act III. Scene 3.

‘Beastly; subtle as the fox,’ etc. Cymbeline, Act. III. Scene 3.

‘The link,’ etc. Troilus and Cressida, Act I. Scene 3.

It is many years ago, etc. Apparently, says Mr. W. C. Hazlitt, about 1798, at St. Neot’s, Huntingdonshire. See The English Comic Writers, where this passage is repeated in the Lecture on the Works of Hogarth.

145. ‘How were we then uplifted.’ Troilus and Cressida, Act III. Scene 2.

‘Temples not made with hands‘, etc. Acts, vii. 48.

E. O. Tables. A new game introduced shortly before 1782, when a Bill was brought in prohibiting it under severe penalties. The Bill was lost in the House of Lords. See Parl. Hist., vol. xxiii. pp. 110–113.

‘Cutpurses of the art,’ etc.

‘A cutpurse of the empire and the rule,

That from a shelf the precious diadem stole

And put it in his pocket!’

Hamlet, Act III. Scene 4.

ПРОДОЛЖЕНИЕ ТОЙ ЖЕ ТЕМЫ

146. ‘That a great man’s memory,’ etc. Hamlet, Act III. Scene 2.

Their late President. Sir Joshua Reynolds.

147. ‘Feel the future in the instant.’ Macbeth, Act I. Scene 5.

148. ‘Depend upon it,’ etc. This letter was not avowed by Burke, but was attributed to him by Barry himself and by Sir James Prior in his Life of Burke, (Bohn, p. 227).

149. ‘Playing at will,’ etc.

‘——and played at will

Her virgin fancies, pouring forth more sweet,

Wild above rule or art, enormous bliss.’

Paradise Lost, v. 294–296.

Highmore, etc. Joseph Highmore (1692–1780); Francis Hayman (1708–1776), one of the founders of the Royal Academy; Thomas Hudson (1701–1779), portrait painter; Sir Godfrey Kneller (1646–1723).

‘Like flowers in men’s caps,’ etc. Macbeth, Act IV. Scene 3.

Hoppner, etc. John Hoppner (1758–1810), the portrait painter; John Opie (1761–1807); Sir Martin Archer Shee (1769–1850), President of the Royal Academy from 1830 to 1845; Philip James Loutherbourg (1740–1812), scene painter to Garrick; John Francis Rigaud (1742–1810); George Romney (1734–1802). Alderman John Boydell’s (1719–1804) famous Shakespeare Gallery comprised one hundred and seventy pictures. The engravings were published in 1802.