«Лекции об английских писателях-комиках»

“A wife, a bride, a mistress unenjoyed—”

где его голос возвышался, ликуя над чувством, подобно грому, который облекает шею боевого коня. Человек, который больше всего понравился мне в этой пьесе, была миссис Стерлинг: она отдала должное своей роли — вещь, которую нелегко сделать. Мне больше нравится “Уоллес” Макриди, чем его “Занга”, хотя пьеса не из лучших, и актеру трудно понять замысел автора. Я не стал бы сурово судить о первой попытке, но ошибки юного гения — это избыточность и постоянное желание новизны: ошибки же этой пьесы — вялость, банальность и дешевые приемы. Говорят, что она написана молодым Уокером, сыном вестминстерского оратора. Если так, его друг, мистер Коббетт, вероятно, напишет о ней театральную рецензию в своем «Политическом регистре» на следующей неделе. Что, я бы спросил, может быть хуже, более не в характере и не в костюме, чем заставить Уоллеса бросить свой меч, чтобы быть зарезанным Ментейтом, только потому, что последний доказал (что он и подозревал), что он предатель и злодей, а затем утешать себя в этом добровольном мученичестве сентиментальным прощанием со скалами и горами своей родной страны! Эта женственная мягкость и жалкое ханжество не принадлежали ни тому веку, ни той стране, ни этому герою. В этой сцене, однако, мистер Макриди блистал; и в позе, в которой он стоял, уронив меч, он проявил исключительную грацию и чувство. Это было так, словно он позволил своему лучшему другу, своему верному мечу, упасть из руки, как змее. Фигура Макриди неуклюжа, но его позы грациозны и хорошо скомпонованы. — Вы не находите?» —

Я ответил: да; и он продолжал в своей обычной манере, исследуя метафизическое различие между грацией формы и грацией, возникающей от движения (как, например, вы можете перемещать квадратную форму по круговой или волнистой линии), и проиллюстрировал это тонкое наблюдение очень подробно и весьма удачно. Он спросил меня, как это мистер Фаррен в фарсе «Глухой любовник» так хорошо сыграл старика и так полностью провалился в роли молодого галантного кавалера. Я сказал, что не знаю. Затем он сам попытался найти решение, за которым я не смог проследить так, чтобы передать точный смысл его аргумента. Впоследствии он определил мне и тем, кто был вокруг нас, достоинства мистера Купера и мистера Уоллэка, классифицируя первого как респектабельного, а последнего как второразрядного актера; с обширными основаниями и учеными определениями своего смысла по обоим пунктам; и, поскольку огни к этому времени почти погасли, а публика (за исключением его непосредственных слушателей) расходилась, он неохотно «закончил»,

‘But in Adam’s ear so pleasing left his voice,’

что я совсем забыл, что должен был написать свою статью о Драме на следующий день; и без его воображаемой помощи я не смог бы подвести свои итоги за год, как мистер Мэтьюз справляется со своим «ДОМА» с помощью небольшого неуклюжего чревовещания.

W. H.

November 21, 1820.

ПРИМЕЧАНИЯ

ЛЕКЦИИ ОБ АНГЛИЙСКИХ КОМИКАХ

Эти лекции были прочитаны в Суррейском институте, на Блэкфрайарс-роуд, в 1818 году, после завершения курса об английских поэтах (см. том V). Некоторые подробности об их чтении можно найти в издании писем Лэма, подготовленном Талфордом (см. перепечатку мистера У. К. Хэзлитта, Bohn, i. 38 et seq.), и в книге Пэтмора «Мои друзья и знакомые». См. также книгу мистера У. К. Хэзлитта «Четыре поколения литературной семьи» (том I, стр. 121-2), где упоминаются мнения Бекфорда и Теккерея. В третье издание лекций (см. Библиографическую заметку) было включено несколько отрывков, «собранных автором, по-видимому, с целью переиздания тома». Два из этих отрывков взяты из длинного письма (опубликованного полностью в Приложении к этим заметкам), которое Хэзлитт направил в «Морнинг Кроникл» 15 октября 1813 года. Остальные взяты из предисловий, которые он написал для «Новой английской драмы» Уильяма Оксберри (20 томов, 1818-1825), и напечатаны в следующих заметках.

ЛЕКЦИЯ I. ВСТУПИТЕЛЬНАЯ

PAGE

8. The Tale of Slaukenbergius. Tristram Shandy, vol. IV.

9. ‘There is something in the misfortunes,’ etc. Rochefoucault, Maximes et Réflexions Morales, CCXLI.

‘They were talking,’ etc. Farquhar’s Beaux’ Stratagem, Act III. Sc. 1.

Lord Foppington. In The Relapse of Vanbrugh. See post, p. 82.

10. Aretine laughed himself to death, etc. The story is that while laughing at the jest Aretine fell from a stool and was killed.

Sir Thomas More jested, etc. More bade the executioner stay till he had put aside his beard, ‘for that,’ he said, ‘had never committed treason.’

Rabelais and Wycherley. ‘When Rabelais,’ says Bacon (Apophthegms), ‘the great jester of France, lay on his death-bed, and they gave him the extreme unction, a familiar friend came to him afterwards, and asked him how he did? Rabelais answered, “Even going my journey, they have greased my boots already.”’ But his last words, uttered ‘avec un éclat de rire,’ were: ‘Tirez le rideau, la farce est jouée.’ It is said that Wycherley, on the night before he died, made his young wife promise that she would never marry an old man again. See a letter from Pope to Blount, Jan. 21, 1715-6 (Works, ed. Elwin and Courthope, VI. 366). Pope, after telling the story, adds: ‘I cannot help remarking that sickness, which often destroys both wit and wisdom, yet seldom has power to remove that talent which we call humour.’

The dialogue between Aimwell and Gibbet. The Beaux’ Stratagem, Act III. Sc. 2.

Mr. Emery’s Robert Tyke. In Thomas Morton’s School of Reform (1805). Cf. post, p. 391.

11. The Liar. By Samuel Foote (1762).

The Busy Body. By Susannah Centlivre (1709).

The history of hobby-horses. See Tristram Shandy, vol. I. especially chaps. XXIV. and XXV.

‘Ever lifted leg.’ Cf. ‘A better never lifted leg.’ Tam o’ Shanter, 80.

12. Malvolio’s punishment, etc. Twelfth Night, Act IV. Sc. 2.

Christopher’s Sly’s drunken transformation. The Taming of the Shrew, Induction, Sc. 2.

Parson Adams’s fall, etc. See Joseph Andrews, Book III. Chap. 7, Book IV. Chap. 14, and Book II. Chap. 12.

Baltimore House. In what is now Russell Square.

14. The author of the Ancient Mariner. Cf. a passage in the essay ‘On Dreams’ (Plain Speaker, vol. VII. pp. 23-24).

Bishop Atterbury. See Pope’s Works (ed. Elwin and Courthope), IX. 21-4. As Mr. Austin Dobson, however, points out, it is not clear that the Arabian Nights are referred to. Atterbury speaks of ‘Petit de la Croix’ as ‘the pretended author’ of the tales, from which it would appear that the tales he found so hard to read were not the Arabian Nights, but the Contes Persans of Petit de la Croix, a translation of which Ambrose Philips had published in 1709.

‘Favours secret,’ etc. Burns, Tam o’ Shanter, 48.

‘The soldiers,’ etc. Hamlet, Act III. Sc. 1.

Horner, etc. Horner, in Wycherley’s The Country Wife; Millamant, in Congreve’s The Way of the World; Tattle and Miss Prue, in Congreve’s Love for Love; Archer and Cherry, in Farquhar’s The Beaux’ Stratagem; Mrs. Amlet, in Vanbrugh’s The Confederacy (see Act III. Sc. 1); Valentine and Angelica, in Love for Love; Miss Peggy, in Garrick’s The Country Girl, adapted from The Country Wife; Anne Page, in The Merry Wives of Windsor (See Act III. Sc. 1).

15. ‘The age of comedy,’ etc. An adaptation of Burke’s famous ‘But the age of chivalry is gone. That of sophisters, economists, and calculators, has succeeded; and the glory of Europe is extinguished for ever.’ (Reflections on the Revolution in France, Select Works, ed. Payne, II. 89.)

‘Accept a miracle,’ etc. By the poet Young. See Spence’s Anecdotes, p. 378.

16. ‘The sun had long since,’ etc. Hudibras, Part II., Canto II. 29-38.

‘By this the northern waggoner,’ etc. The Faerie Queene, Book I., Canto II. St. 1.

‘At last,’ etc. Ibid. Book I., Canto V. St. 2.

17. ‘But now a sport,’ etc. Hudibras, Part I., Canto I. 675-688.

Mr. Sheridan’s description, etc. In his speech on the Definitive Treaty of Peace, May 14, 1802.

‘The sarcastic reply of Porson.’ According to Rogers (Dyce, Recollections of the Table Talk of Samuel Rogers, p. 330), the ‘not till then’ was the comment of Byron on a remark of Porson’s (Porsoniana) that ‘Madoc will be read, when Homer and Virgil are forgotten.’

18. ‘Compound for sins,’ etc. Hudibras, Part I., Canto I., 215-216.

‘There’s but the twinkling,’ etc. Ibid. Part II., Canto III., 957-964.

‘Now night descending,’ etc. The Dunciad, I. 89-90.

19. Harris. James Harris (1709-1780), author of Hermes, or a Philosophical Inquiry concerning Universal Grammar (1751).

20. ‘A foregone conclusion.’ Othello, Act III. Sc. 3.

‘Comes in such,’ etc. Hamlet, Act I. Sc. 4.

‘Soul-killing lies,’ etc. Lamb, John Woodvil, Act II.

21. ‘The instance might be painful,’ etc. Letters of Junius, Letter XLIX.

‘And ever,’ etc. L’Allegro, 135-6.

The reply of the author, etc. This was Richard Owen Cambridge (1717-1802), contributor to Edward Moore’s The World (1753-1756).

‘Full of sound and fury,’ etc. Macbeth, Act V. Sc. 5.

‘For thin partitions,’ etc. Dryden, Absalom and Achitophel, Part I. 164.

Mr. Curran. Curran had died on October 14, 1817.

22. Hæret lateri, etc. Æneid, IV. 73.

The Duke of Buckingham’s saying. ‘And give me leave to tell your lordships, by the way, that statutes are not like women, for they are not one jot the worse for being old.’ Speech on the Dissolution of Parliament, 1676. The speech was included by Hazlitt in his Eloquence of the British Senate. See vol. III. p. 399.

Mr. Addison, indeed, etc. The Spectator, No. 61.

Mandrake. In Farquhar’s The Twin Rivals, Act II. Sc. 2.

Sir Hugh Evans. The Merry Wives of Windsor, Act I. Sc. 1.

23. ‘From the sublime,’ etc. ‘Du sublime au ridicule il n’y a qu’un pas.’ Attributed to Napoleon. Thomas Paine had, however, said the same thing in his Age of Reason, Part II.

24. Mr. Canning’s Court Parodies, etc. In the Anti-Jacobin (1797-1798). Southey was the victim of two of the best known of these parodies, the Inscription for the door of the Cell in Newgate where Mrs. Brownrigg, the Prentice-cide, was confined previous to her execution, and The Friend of Humanity and the Knife-Grinder.

The Rejected Addresses. By James and Horace Smith, published in 1812. The parody of Crabbe was by James Smith.

Lear and the Fool. The references in this paragraph are to King Lear, Act I. Sc. 4.

‘’Tis with our judgments,’ etc. Pope, Essay on Criticism, 9-10.

25. ‘He is the cause,’ etc. Cf. ‘I am not only witty in myself, but the cause that wit is in other men.’ Henry IV., Part II., Act I. Sc. 2.

‘That perilous stuff,’ etc. Macbeth, Act V. Sc. 3.

‘Imitate humanity,’ etc. Hamlet, Act III. Sc. 2.

26. Barrow’s celebrated description. See Isaac Barrow’s (1630-77) sermon ‘Against Foolish Talking and Jesting.’

27. ‘Who did essay,’ etc. The Faerie Queene, Book II., Canto VI., St. 7.

28. Barnaby Brittle. See post, note to p. 481.

29. The strictures of Rousseau. Lettre à M. D’Alembert. Petits Chefs-d’œuvre (ed. Firmin-Didot), pp. 405 et seq.

An exquisite ... defence. See La Critique de l’École des Femmes, Sc. 6.

‘An equal want,’ etc. ‘But equally a want of books and men.’ Wordsworth, Poems dedicated to National Independence and Liberty, XV., Sonnet beginning ‘Great men have been among us; hands that penned,’ etc.

ЛЕКЦИЯ II. О ШЕКСПИРЕ И БЕНЕ ДЖОНСОНЕ

30. Dr. Johnson thought, etc. See his Preface to Shakespeare (Works, Oxford, 1825, vol. V. p. 113).

‘Smit with the love of sacred song.’ Paradise Lost, III. 29.

31. There is but one, etc. Hazlitt is recalling Dryden’s line, ‘within that circle none must walk but he.’ (Prologue to The Tempest.)

‘Not to speak it profanely.’ Hamlet, Act III. Sc. 2.

‘Like an unsubstantial pageant faded.’ The Tempest, Act IV. Sc. 1.

32. ‘He is the leviathan,’ etc. Hazlitt adapts a passage of Burke’s: ‘The Duke of Bedford is the leviathan among all the creatures of the Crown. He tumbles about his unwieldy bulk; he plays and frolics in the ocean of the royal bounty.’ A Letter to a Noble Lord (Works, Bohn, V. 129).

‘A consummation,’ etc. Hamlet, Act III. Sc. 1.

The description of Queen Mab. In Romeo and Juliet, Act I. Sc. 4.

‘The shade of melancholy boughs.’ As You Like It, Act II. Sc. 7.

‘Give a very echo,’ etc. Twelfth Night, Act II. Sc. 4.

‘Oh! it came,’ etc. Ibid. Act I. Sc. 1.

33. ‘Covers a multitude of sins.’ I. Peter, iv. 8.

The ligament, etc. Cf. ‘And that ligament, fine as it was, was never broken.’ Tristram Shandy, VI. 10.

The Society for the Suppression of Vice. Cf. The Round Table, vol. I. p, 60 and note.

‘He has been merry,’ etc. Henry IV., Part II., Act V. Sc. 3.

‘Heard the chimes at midnight.’ Ibid., Act III. Sc. 2.

34. ‘Come on, come on, etc. Ibid.

35. ‘One touch of nature,’ etc. Troilus and Cressida, Act III. Sc. 3.

‘It is apprehensive, etc. Henry IV., Part II., Act IV. Sc. 3.

36. ‘Go to church,’ etc. Twelfth Night, Act I. Sc. 3.

Tattle and Sparkish. In Congreve’s Love for Love and Wycherley’s The Country Wife respectively.

‘All beyond Hyde Park,’ etc. Sir George Etherege’s The Man of Mode, Act V. Sc. 2.

‘Lay waste a country gentleman.’ Hazlitt uses this expression elsewhere. See his character of Cobbett in The Spirit of the Age (vol. IV. p. 334), where he says that Cobbett ‘lays waste a city orator or Member of Parliament.’

Lord Foppington. In Vanbrugh’s The Relapse.

‘The Prince of coxcombs,’ etc.

‘Fashion. Now, by all that’s great and powerful, thou art the prince of coxcombs.

Lord Foppington. Sir—I am proud of being at the head of so prevailing a party.’ The Relapse, Act III. Sc. 1.

‘Manners damnable,’ etc. See the dialogue between Touchstone and Corin in As You Like It, Act III. Sc. 2.

37. ‘Airy nothing.’ A Midsummer Night’s Dream, Act V. Sc. 1.

‘Love’s golden shaft,’ etc. Twelfth Night, Act I. Sc. 1.

‘There the mind,’ etc. ‘Therein the patient must minister to himself.’ Macbeth, Act V. Sc. 3.

‘Of solitude,’ etc. Cf. ‘Of solitude and melancholy born.’ Beattie, The Minstrel, Canto I. St. 56.

38. ‘In the crust of formality.’ Hazlitt elsewhere attributes this phrase to Milton.

To wanton in the idle summer air. Cf. ‘That idles in the wanton summer air.’ Romeo and Juliet, Act II. Sc. 6.

39. ‘Does mad and fantastic execution,’ etc. Troilus and Cressida, Act V. Sc. 5.

Schlegel observes, etc. In his Lectures on Dramatic Literature (No. XXVII.) the English version of which was reviewed by Hazlitt in The Edinburgh Review for Feb. 1816.

‘Lively, audible,’ etc. ‘Waking, audible, and full of vent.’ Coriolanus, Act IV. Sc. 5.

40. Captain Otter. In The Silent Woman (1609).

‘Bless’d conditions.’ Othello, Act II. Sc. 1.

‘If to be wise,’ etc. Cf. ‘Let it be virtuous to be obstinate.’ Coriolanus, Act V. Sc. 3.

41. ‘The gayest,’ etc. Akenside, Pleasures of the Imagination, I. 30.

Aliquando sufflaminandus erat. See Ben Jonson’s Timber: or, Discoveries, LXIV., and note to The Spirit of the Age, vol. IV. p. 336.

Howel’s Letters. See the Familiar Letters of James Howell, 10th ed., 1737, pp. 323-4.

42. Jamque opus, etc. Ovid, Metamorphoses, XV. 871.

Exegi monumentum, etc. Horace, Odes, III. 30, 1.

O fortunatam, etc. Cicero, De Suis Temporibus, quoted by Juvenal, Satire X. 122.

A detailed account. In Characters of Shakespear’s Plays (1817).

l. 23. In the third edition the following sentence is interpolated: ‘It has been observed of this author, that he painted not so much human nature as temporary manners; not the characters of men, but their humours; that is to say, peculiarities of phrase, modes of dress, gesture, etc., which becoming obsolete, and being in themselves altogether arbitrary and fantastical, have become unintelligible and uninteresting.’ Hazlitt probably refers to Schlegel. See Lectures on Dramatic Art and Literature (trans. John Black, ed. 1900, p. 464).

The meeting between Morose and Epicene. Act II. Sc. 3.

43. O’er step, etc. Hamlet, Act III. Sc. 2.

The scene between Sir Amorous La Foole and Sir John Daw, etc. See The Silent Woman, Act IV. Sc. 2, and Twelfth Night, Act III. Sc. 4.

Decorum ... which Milton says, etc. On Education (Works, 1738, 1. p. 140).

Truewit. In The Silent Woman.

Thus Peregrine, in Volpone, etc. Act II. Sc. 1. Volpone was first acted in 1605.

This play was Dryden’s favourite. Hazlitt refers to The Silent Woman, of which Dryden gives an ‘Examen’ in his Essay of Dramatic Poesy (Select Essays, ed. Ker, I. 83 et seq.).

Truewit says. The Silent Woman, Act IV. Sc. 2.

‘Even though we should hold,’ etc. Cf. ‘All which, sir, though I most powerfully and potently believe, yet I hold it not honesty to have it thus set down.’ Hamlet, Act II. Sc. 2.

The directions for making love. The Silent Woman, Act IV. Sc. 1.

44. ‘Hood an ass,’ etc. Volpone, Act I. Sc. 1.

Every Man in his Humour. First acted in 1598, this play held the stage until Hazlitt’s time. Cf. his notice of Kean’s Kitely in A View of the English Stage, post, p. 310. Dickens played the part of Bobadil in 1845.

‘As dry as the remainder biscuit after a voyage.’ As You Like It, Act II. Sc. 7.

His well-known proposal, etc. Every Man in his Humour, Act IV. Sc. 5.

45. The scene in which Brainworm, etc. Ibid. Act I. Sc. 2.

Bartholomew Fair. Produced in 1614.

The Alchymist. Produced in 1610.

One glorious scene. Act II. Sc. 1.

48. Beaumont and Fletcher. Cf. vol. V., p. 261 and note.

The Inconstant. Farquhar’s comedy (1703).

49. Mrs. Jordan. Mrs. Jordan had died on May 24, 1817.

ЛЕКЦИЯ III. О КОУЛИ, БАТЛЕРЕ, САКЛИНГЕ, ЭТЕРЕДЖЕ И ДР.

PAGE

‘The metaphysical poets,’ etc. Johnson, Life of Cowley in The Lives of the Poets.

The father of criticism. Aristotle. See the Poetics.

50. ‘Hitch into a rhyme.’ Pope, Imitations of Horace, Satires, Book II., Satire i. 78.

51. ‘And though reclaim’d,’ etc. Cowper, The Task, IV. 723-5.

Donne. John Donne (1573-1631).

‘Heaved pantingly forth.’ King Lear, Act IV. Sc. 3.

‘Buried quick again.’ Hamlet’s words ‘Be buried quick with her, and so will I’ (Act V. Sc. 1), were perhaps in Hazlitt’s mind.

‘Little think’st thou,’ etc. Poems (‘Muses’ Library,’ I. 63).

52. A lame and impotent conclusion. Othello, Act II. Sc. 1.

‘Whoever comes,’ etc. Poems, i. 61.

‘I long to talk,’ etc. Ibid. I. 56.

53. ‘Here lies,’ etc. Ibid. I. 86.

To the pure, etc. Titus I. 15.

Bishop Hall’s Satires. The Satires of Joseph Hall (1574-1656), Bishop of Exeter (1627) and of Norwich (1641), were published in 1597 and 1598 under the title of Virgidemiarum, Sixe Bookes. For Pope’s admiration of him see Works, ed. Elwin and Courthope, III. 423.

Sir John Davies (1569-1626). His Orchestra, or a Poeme of Dancing, appeared in 1596, his Nosce Teipsum, a poem on the immortality of the soul, in 1599.

Crashaw. Richard Crashaw (1612?-1649). The ‘celebrated Latin Epigram’ appeared in a volume of Latin poems and epigrams published in 1634. The line referred to by Hazlitt, ‘Nympha pudica Deum vidit, et erubuit,’ is the last of a four-line epigram. See Boswell’s Life of Johnson (ed. Croker, 1847, p. 598).

‘Seething brains.’ A Midsummer Night’s Dream, Act V. Sc. 1.

The contest between the Musician and the Nightingale. Musick’s Duel, a version from the Latin of the Roman Jesuit Strada, paraphrased also by Ford in The Lover’s Melancholy, Act. I. Sc. 1.

Davenant’s Gondibert. The Gondibert of Sir William D’Avenant (1606-1668), published in 1651.

54. ‘Yet on that wall,’ etc. Gondibert, Book II. Canto V. St. 33.

Marvel. Cf. Lectures on the English Poets, vol. V. p. 83.

‘And sat not as a meat,’ etc. The Character of Holland, 1. 30.

One whose praise, etc. Probably Lamb.

Shadwell. Thomas Shadwell (1642?-1692). The Libertine appeared in 1676.

Carew. Thomas Carew (1598?-1639?). The reference to him in Sir John Suckling’s Session of the Poets (1637) is as follows:—

‘Tom Carew was next, but he had a fault

That would not stand well with a laureat;

His Muse was hard bound, and th’ issue of’s brain

Was seldom brought forth but with trouble and pain.’

His masque. Performed in Feb. 1633-4.

55. Milton’s name, etc. Johnson, in his Life of Cowley, says: ‘Milton tried the metaphysick style only in his lines upon Hobson, the carrier.’

‘Aggregation of ideas.’ ‘Sublimity,’ says Johnson (Life of Cowley), ‘is produced by aggregation, and littleness by dispersion.’

‘Inimitable on earth,’ etc. Paradise Lost, III. 508-9.

Suckling. Sir John Suckling (1609-1642). Johnson refers to him in his Life of Cowley as one of the ‘immediate successors’ of the metaphysical poets, but adds: ‘Suckling neither improved versification, nor abounded in conceits. The fashionable style remained chiefly with Cowley; Suckling could not reach it, and Milton disdained it.’

57. Cowley. Cf. vol. V. p. 372.

‘The Phœnix Pindar,’ etc. The Praise of Pindar, l. 2.

‘Sailing with supreme dominion,’ etc. Gray, The Progress of Poesy, III. 3.

58. He compares Bacon to Moses. ‘Bacon, like Moses, led us forth at last.’ To the Royal Society.

60. Cowley’s Essays. Published in 1668.

61. Cutter of Coleman Street. The Guardian acted at Cambridge in 1641 and printed in 1650, afterwards re-written and produced at Lincoln’s Inn Fields as ‘Cutter of Coleman Street’ in 1661.

62. ‘Call you this backing your friends?’ Henry IV., Part I., Act II. Sc. 4.

Butler’s Hudibras. The three Parts of Hudibras appeared in 1662, 1663, and 1678 respectively.

Dr. Campbell. Dr. George Campbell (1719-1796) published his Philosophy of Rhetoric in 1776.

‘Narrow his mind,’ etc. Goldsmith’s Retaliation, 31-2.

Dr. Zachary Grey. Zachary Grey’s (1688-1766) edition of Hudibras appeared in 1744.

63. Note. (1) Part II., Canto II. 297-8; and II., I. 617-20; (2) II., I. 273-4; (3) I., II. 255-6; (4) I., II. 109-10; (5) I., II. 225-6; I., I. 241-252; and I., I. 375-8.

64. Note. (1) Part II. Canto II. 831-2, and II. III. 107-8; (2) II. II. 421-2; (3) I. I. 59-60; (4) II. III. 809-10; (5) I. II. 1099-1102.

65. ‘Pilloried,’ etc. Cowper, Hope, 556.

‘As one grain of wheat,’ etc. Merchant of Venice, Act I. Sc. 1.

The account of Sidrophel and Whackum. Hudibras, Part II. Canto III.

Note. ‘Thus stopp’d,’ etc. Hudibras, Part I. Canto III. 951-2. ‘And setting his right foot,’ etc. I. III. 82-4. ‘At this the knight,’ etc. II. II. 541-4. ‘The knight himself,’ etc. I. II. 1123-6. ‘And raised,’ etc. I. II. 95-6. ‘And Hudibras,’ etc. II. II. 661-2. ‘Both thought,’ etc. II. II. 577-90.

67. The burlesque description, etc. Hudibras, Part I. Canto II. 1129, et seq.

‘As when an owl,’ etc. Ibid. I. III. 403-6.

‘The queen of night, etc. Ibid. III. I. 1321-6.

Butler’s Remains. The Genuine Remains in Verse and Prose of Mr. Samuel Butler, not published till 1759.

‘Reduce all tragedy,’ etc. Butler, Upon Critics, 17-42.

68. Etherege. Sir George Etherege (1635?-1691) wrote three comedies, The Comical Revenge, or Love in a Tub (1664), She Would if she Could (1667), and The Man of Mode, or Sir Fopling Flutter (1676). The last was a great favourite of Hazlitt’s, and is constantly referred to by him.

‘Tames his wild heart,’ etc. Much Ado About Nothing, Act III. Sc. 1.

‘Like the morn,’ etc. Paradise Lost, V. 310-11.

The Wild Gallant. First performed February 1662-3. See Act II. Sc. 1.

69. Sir Martin Mar-all. Produced in 1667, and founded on a translation by the Duke of Newcastle of Molière’s L’Étourdi. The Busy Body, by Mrs. Centlivre, appeared in 1709.

Otway’s comedies. The Cheats of Scapin (adapted from Molière) (1677), Friendship in Fashion (1678), The Soldier’s Fortune (1681), and The Atheist (1684).

Rehearsal. The Duke of Buckingham’s (1628-1687) The Rehearsal, first published in 1672.

Knight of the Burning Pestle. Written about 1611 and published in 1613.

Sir Robert Howard. The Committee, by Sir Robert Howard (1626-1698), was produced in 1662. Thomas Knight’s The Honest Thieves, an adaptation, was acted at Covent Garden in 1797.

‘Mitigated into courtiers [companions],’ etc. Burke, Reflections on the Revolution in France (Select Works, ed. Payne, II. 90).

The great bed of Ware. Referred to by Shakespeare (Twelfth Night, Act III. Sc. 2), and now at Rye House.

ЛЕКЦИЯ IV. ОБ УИЧЕРЛИ, КОНГРИВЕ, ВАНБРУ И ФАРКЕРЕ

70. ‘Graceful ornament,’ etc. ‘Nobility is a graceful ornament,’ etc. Burke, Reflections on the Revolution in France (Select Works, ed. Payne, II. 164).

Waller’s Sacharissa. Lady Dorothy Sidney, eldest daughter of the second Earl of Leicester.

Wycherley, etc. William Wycherley (1640?-1715), William Congreve (1670-1730), Sir John Vanbrugh (1664-1726), and George Farquhar (1678-1707). Leigh Hunt in 1840 published an edition of the dramatic works of all these writers, with biographical and critical notices. With this lecture compare Lamb’s famous essay ‘On the Artificial Comedy of the last Century,’ contributed to The London Magazine, April 1822.

71. ‘Whose jewels,’ etc. Collins’s Ode, The Manners, 55-6.

In the dedication of one of his plays. Probably The Way of the World, though the dedication hardly bears out Hazlitt’s account of it.

Love for Love. 1695.

The Way of the World. 1700.

Munden’s Foresight. See A View of the English Stage, ante, p. 278.

72. ‘I never valued,’ etc. Love for Love, Act V. Sc. 12.

‘To divest him,’ etc. Ibid. Act II. Sc. 7.

The short scene with Trapland. Ibid. Act I. Sc. 5.

‘More misfortunes,’ etc. Ibid. Act I. Sc. 9.

‘Sisters every way.’ Ibid. Act II. Sc. 9.

‘Nay, if you come to that,’ etc. Ibid.

The Old Bachelor, brought out in January, 1692-3; The Double Dealer, in November 1693.

‘Dying Ned Careless.’ The Double Dealer, Act IV. Sc. 9.

‘Love’s thrice reputed [repured] nectar.’ Troilus and Cressida, Act III. Sc. 2.

73. ‘Ah! idle creature.’ The Way of the World, Act IV. Sc. 5.

‘Like Phœbus,’ etc. Ibid. Act IV. Sc. 4.

‘Come then,’ etc. Pope, Moral Essays, Epistle II., 17-20.

‘If there’s delight,’ etc. The Way of the World, Act III. Sc. 12.

‘Beauty the lover’s gift,’ etc. Ibid. Act II. Sc. 5.

74. ‘Nature’s own sweet,’ etc. Twelfth Night, Act I. Sc. 5.

‘Wild wit,’ etc. Gray, Ode On a distant Prospect of Eton College, 46.

‘Blazons herself.’

‘Thou divine nature, how thyself thou blazon’st

In these two princely boys!’

Cymbeline, Act IV. Sc. 2.

Mrs. Abington’s Millamant. Frances Abington (1737-1815) practically retired from the stage in 1790, though she re-appeared for a season as late as 1799.

Declaim. Disclaim.

‘He’s but his half-brother.’ The Way of the World, Act I. Sc. 6.

75. The description of the ruins, etc. The Mourning Bride, Act II. Sc. 3. For Johnson’s praise of this passage see Boswell’s Life (ed. G. B. Hill, II. 85).

‘Be every day,’ etc. The Mourning Bride, Act I. Sc. 3.

76. Bolingbroke’s entry into London. Richard II., Act V. Sc. 2.

Country Wife. Produced in 1672 or 1673, published in 1675, this play was partly founded on Molière’s L’École des Femmes and L’École des Maris.

Agnes. In Molière’s L’École des Femmes.

77. Moody. In Garrick’s adaptation The Country Girl (1766).

‘With him a wit,’ etc. ‘A wit to me is the greatest title in the world.’ The Country Wife, Act I. Sc. 1.

The Plain Dealer. Produced in 1674, published in 1677. The passage in which Wycherley refers to The Country Wife is in Act II. Sc. 1.

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

‘Go! You’re a censorious ill woman.’ ‘Let us begone from this censorious ill woman.’ The Plain Dealer, Act V. Sc. 1.

The Gentleman Dancing Master. Produced about 1671, published in 1673.

Love in a Wood. Produced in 1671. It was Wycherley’s first play.

79. ‘Had I the tediousness,’ etc. Much Ado about Nothing, Act III. Sc. 5.

The treatment he received from Pope. See Elwin and Courthope’s edition of Pope’s Works, vol. V. 73-5. Wycherley’s letters to Pope are printed in Appendix I. to that volume.

The Provoked Wife. Produced by Betterton and published in 1697.

The Relapse. Produced and published in 1697.

80. The Confederacy. Produced and published in 1705.

This last scene. The Confederacy, Act III. Sc. 2.

81. ‘It does somewhat smack.’ Cf. ‘My father did something smack.’ The Merchant of Venice, Act II. Sc. 2.

Old Palmer. See ante, p. 388.

82. ‘The best company in the world.’ The Man of Mode, Act IV. Sc. 3.

‘Now, for my part,’ etc. The Relapse, Act V. Sc. 5.

‘Let loose the greyhound,’ etc. See Ibid. Act III. Sc. 3.

83. ‘It’s well they’ve got me a husband,’ etc. Ibid.

‘A devilish girl at the bottom.’ The Confederacy, Act II. Sc. 1.

‘Proud to be at the head,’ etc. See ante, note to p. 36.

Garrick’s favourite part. A portrait of Garrick as Sir John Brute, by Zoffany, is in the Garrick Club.

The drunken scene. See Act IV. Scenes 1 and 3 of The Provoked Wife. When the play was revived in 1725 Vanbrugh himself changed Sir John Brute’s disguise, and made him appear before the justice in his wife’s ‘short cloak and sack.’

84. ‘Hair-breadth ‘scapes.’ Othello, Act I. Sc. 3.

‘Any relish of salvation.’ Hamlet, Act III. Sc. 3.

85. ‘O’erstep the modesty of nature.’ Ibid. Act III. Sc. 2.

‘God Almighty’s gentlemen.’ Dryden, Absalom and Achitophel, Part I. 645.

He somewhere prides himself, etc. In the dedication of The Inconstant.

The Trip to the Jubilee. The Constant Couple; or, a Trip to the Jubilee, produced in 1700.

85. Mr. Burke’s courtly and chivalrous observation. ‘That chastity of honour ... under which vice itself lost half its evil, by losing all its grossness.’ Reflections on the Revolution in France (Select Works, ed. Payne, II. 89).

86. ‘Now, dear madam,’ etc. Sir Harry Wildair, Act IV. Sc. 2.

88. The dialogue between Cherry and Archer. See The Beaux’ Stratagem (produced 1707), Act II. Sc. 3.

89. The Recruiting Officer. 1706.

Catastrophe of this play. See Farquhar’s Dedication.

Love and a Bottle, 1699; The Twin Rivals, 1702.

Farquhar’s Letters. Originally published in 1702 under the title of ‘Love and Business.’

Dennis’s Remarks, etc. Dennis’s Remarks upon Cato appeared in 1713.

His View of the English Stage. Jeremy Collier’s Short View of the Immorality and Profaneness of the English Stage (1697-8).

90. ‘Shews vice,’ etc. Cf. ‘To show virtue her own feature, scorn her own image.’ Hamlet, Act III. Sc. 2.

‘Denote a foregone conclusion.’ Othello, Act III. Sc. 3.

Colley Cibber’s Life, etc. Cf. the second essay ‘On Actors and Acting’ in The Round Table, vol. I. p. 156.

91. ‘Let no rude hand,’ etc. Wordsworth, Ellen Irwin, St. 7.

‘Die and leave the world no copy.’ Twelfth Night, Act I. Sc. 5.

ЛЕКЦИЯ V. О ПЕРИОДИЧЕСКИХ ЭССЕИСТАХ

‘The proper study,’ etc. Pope, Essay on Man, II. 2.

‘Comes home to the business,’ etc. Bacon, dedication of the Essays.

‘Quicquid agunt homines,’ etc. These words of Juvenal (Sat. I. 85-6) formed the motto of the first 40 numbers of The Tatler.

‘Holds the mirror,’ etc. Hamlet, Act III. Sc. 2.

‘The act [art] and practic part,’ etc. Henry V., Act I. Sc. 1.

92. ‘‘The web of our life,’ etc. All’s Well that Ends Well, Act IV. Sc. 3.

‘Quid sit pulchrum,’ etc. Horace, Epistles, I. 2, ll. 3-4.

Montaigne. The Essais of Michael de Montaigne (1533-1592), were published, Books I. and II. in 1580, Book III. in 1588.

93. ‘Pour out all as plain,’ etc. Pope, Imitations of Horace, Sat. I. 51-2.

Note.

‘What made (say Montaigne, or more sage Charron!)

Otho a warrior, Cromwell a buffoon.’

Pope, Moral Essays, I. 87-8.

De la Sagesse, the chief work of Montaigne’s friend Pierre Charron (1541-1603), appeared in 1601.

94. ‘Pereant isti,’ etc. Ælius Donatus, St. Jerome, Commentary on Ecclesiastes, Cap. I.

Charles Cotton. Cotton’s translation of Montaigne was published in three volumes in 1685, and has frequently been reprinted, the latest edition being that of Mr. W. C. Hazlitt (republished 1902). The earlier version by John Florio (1603) has been included in the Tudor Translations (1893) and in the Temple Classics (1897).

‘The book in the world,’ etc. Cotton’s translation was dedicated to George Savile, Marquis of Halifax, who, in his reply, addressed to Cotton, spoke of the Essays as ‘the book in the world I am best entertained with.’

Cowley, etc. Abraham Cowley’s Several Discourses by way of Essays in Prose and Verse were appended to the collected edition of his works in 1668; Sir

William Temple’s (1628-1699) essays entitled Miscellanea were published in 1680 and 1692; Lord Shaftesbury’s (1671-1713) Moralists in 1709, and Characteristics in 1711.

94. Note. Nam quodcumque, etc. Lucretius, III. 752-3.

95. ‘The perfect spy o’ th’ time.’ Macbeth, Act III. Sc. 1.

The Tatler. The first number of the Tatler appeared on April 12, 1709, the last on January 2, 1711. The papers were re-issued in two forms, one in 8vo., one in 12mo., in 1710-11. Nearly the whole of this paragraph and the next is taken from an essay in The Examiner (March 5, 1815), reprinted in The Round Table. See vol. I. pp. 7-10, and the notes thereon.

96. Note. No. 86, not No. 125, of The Tatler.

Mr. Lilly’s shop-windows. Charles Lillie, the perfumer’s at the corner of Beaufort Buildings in the Strand.

Will Estcourt or Tom D’urfey. Richard Estcourt (1668-1712), actor and dramatist, and Tom D’Urfey (1653-1723), the dramatist and song-writer, are constantly referred to in The Tatler.

97. The Spectator. The Spectator ran from March I, 1711, to December 6, 1712, and from June 18, 1714, to December 20, 1714. The collected edition appeared in 8 vols., 1712-15.

‘The whiteness of her hand.’ ‘She has certainly the finest hand of any woman in the world.’ The Spectator, No. 113.

98. ‘He has a widow in his line of life.’ The Spectator, No. 130.

His falling asleep in church, etc. The Spectator, No. 112. John Williams should be ‘one John Matthews.’

99. The Guardian. March 12, 1713, to October 1713. Of the 176 numbers Steele contributed 82, and Addison 53, papers.

100. The Rambler. March 20, 1749-50, to March 14, 1752.

‘Give us pause.’ Hamlet, Act III. Sc. 1.

101. ‘The elephant,’ etc. Paradise Lost, IV. 345-7.

102. ‘If he were to write,’ etc. Boswell’s Life of Johnson (ed. G. B. Hill), II. 231. Abused Milton and patronised Lauder. See Boswell’s Life of Johnson (ed. G. B. Hill), I 228-31.

103. ‘The king of good fellows,’ etc. Burns, Auld Rob Morris, l. 2.

‘Inventory of all he said.’ Cf. ‘And ta’en an inventory of what they are.’ Ben Jonson, The Alchemist, Act III. Sc. 2.

‘Does he wind, etc. Boswell’s Life of Johnson (ed. G. B. Hill), II. 260.

‘If that fellow Burke,’ etc. Ibid. II. 450.

‘What, is it you,’ etc. Ibid. I. 250.

‘Now I think I am,’ etc. Ibid. II. 362.

His quitting the society, etc. Ibid. I. 201.

His dining with Wilkes. Ibid. III. 64 et seq.

His sitting with the young ladies. Ibid. II. 120.

His carrying the unfortunate victim, etc. Ibid. IV. 321.

104. An act which realises the parable of the good Samaritan. Sergeant Talfourd, in his account of these Lectures, speaks of the insensibility of the bulk of the audience, and adds: ‘He [Hazlitt] once had a more edifying advantage over them. He was enumerating the humanities which endeared Dr. Johnson to his mind, and at the close of an agreeable catalogue mentioned as last and noblest “his carrying the poor victim of disease and dissipation on his back through Fleet Street,” at which a titter arose from some who were struck by the picture as ludicrous, and a murmur from others who deemed the allusion unfit for ears polite: he paused for an instant, and then added, in his sturdiest and most impressive manner—“an act which realizes the parable of the Good Samaritan”—at which his moral, and his delicate hearers shrank, rebuked, into deep silence.’ Lamb’s Letters (ed. W. C. Hazlitt), I. 39-40.

104. ‘Where they,’ etc. Gray’s Elegy, The Epitaph.

The Adventurer. Nov. 7, 1752, to March 9, 1754. John Hawkesworth (1715-1773) was the chief contributor.

The World. Jan. 4, 1753, to Dec. 30, 1756.

The Connoisseur. Jan. 31, 1754, to Sept. 30, 1756.

One good idea, etc. Hazlitt refers to a paper by Edward Moore which appeared in The World (No. 176), not, as he says, in The Connoisseur.

Citizen of the World. Republished (from the Public Ledger and elsewhere) in 2 vols., 1762.

‘Go about to cozen,’ etc. Merchant of Venice, Act II. Sc. 9.

The Persian Letters. Lord Lyttelton’s Letters from a Persian in England to his friend at Ispahan, 1735.

‘The bonzes,’ etc. The Citizen of the World, Letter X.

105. ‘Edinburgh. We are positive,’ etc. Ibid. Letter V.

Beau Tibbs. Ibid. Letters XXIX., LIV., LV., and LXXI.

The Lounger and The Mirror. The Mirror appeared in Edinburgh from Jan. 23, 1779, to May 27, 1780; The Lounger from Feb. 5, 1785, to Jan. 6, 1786. Henry Mackenzie was the chief contributor to both.

La Roche. The Mirror, Nos. 42, 43, and 44.

Le Fevre. Tristram Shandy, VI. chaps. 6 et seq.

The Man of the World. By Henry Mackenzie (1745-1831), published in 1773.

Julia de Roubigné. Published in 1777.

Rosamund Gray. See Lamb’s Poems, Plays, and Essays, ed. Ainger, Notes to Rosamund Gray, p. 391.

The Man of Feeling. Published in 1771.

ЛЕКЦИЯ VI. ОБ АНГЛИЙСКИХ РОМАНИСТАХ

Вся эта лекция до конца абзаца на стр. 125 взята с небольшими изменениями из статьи в «Эдинбург Ревью» за февраль 1815 года о «Стандартных романах и повестях», по видимости, рецензии на «Странника» мадам д’Арбле.

PAGE

106. ‘Be mine to read,’ etc. Gray, in a letter to Richard West, April 1742 (Letters, ed. Tovey, I. 97).

‘Something more divine in it.’ Hazlitt is perhaps recalling a passage in Bacon’s Advancement of Learning (II. iv. 2): ‘So as poesy serveth and conferreth to delectation, magnanimity, and morality, ... it may seem deservedly to have some participation of divineness,’ etc.

107. Fielding in speaking, etc. Joseph Andrews, Book III. chap. 1.

The description ... given by Mr. Burke. Reflections on the Revolution in France (Select Works, ed. Payne, II. 92-3).

Echard ‘On the Contempt of the Clergy.’ John Eachard’s (1636?-1697) The Grounds and Occasions of the Contempt of the Clergy and Religion enquired into, published in 1670 and frequently reprinted.

‘Worthy of all acceptation.’ 1 Timothy, 1. 15.

The Lecture which Lady Booby reads, etc. Joseph Andrews, Book IV. chap. 3.

Blackstone or De Lolme. Sir William Blackstone’s (1723-1780) Commentaries on the Laws of England appeared in 1765-9, John Louis De Lolme’s (1740?-1807) The Constitution of England, in French 1771, in English 1775.

108. What I have said upon it, etc. In The Edinburgh Review. See ante, note to p. 106.

Don Quixote. Part I., 1605; Part II., 1615.

‘The long-forgotten order of chivalry.’ ‘The long-neglected and almost extinguished order of knight-errantry,’ Don Quixote (trans. Jarvis), Part I., Book IV. chap. 28.

‘Witch the world,’ etc. Henry IV., Part I., Act IV. Sc. 1.

109. ‘Oh, what delicate wooden spoons,’ etc. Don Quixote, Part II., Book IV. chap. 67.

The curate confidentially informing Don Quixote, etc. Ibid.

Our adventurer afterwards, etc. Ibid.

110. ‘Still prompts,’ etc. Pope, Essay on Man, IV. 3-4.

‘Singing the ancient ballad of Roncesvalles.’ Don Quixote, Part II., Book I. chap. 9.

Marcella. Ibid. Part I., Book I. chaps. 12 and 13.

His Galatea, etc. Galatea, 1585; Persiles and Sigismunda, 1616.

111. Gusman D’Alfarache. By Mateo Aleman, published in 1599.

Lazarillo de Tormes. Attributed to Diego Hurtado de Mendoza (1503-1575), published in 1553.

Gil Blas. The Histoire de Gil Blas de Santillane of Alain-René le Sage (1668-1747) appeared in 4 vols., 1715-1735.

112. Smollett is more like Gil Blas. In the Preface to Roderick Random he admitted his obligation to Le Sage.

113. Tom Jones. Published in 1749.

114. ‘I was never so handsome,’ etc. Tom Jones, Book XVII. chap. 4.

The story of Tom Jones, etc. Cf. the well-known dictum of Coleridge (Table Talk, July 5, 1834), ‘Upon my word, I think the Œdipus Tyrannus, the Alchemist, and Tom Jones, the three most perfect plots ever planned.’

Amelia and Joseph Andrews. Published in 1751 and 1742 respectively.

Amelia, and the hashed mutton. Cf. Hazlitt’s essay ‘A Farewell to Essay-writing,’ from which it appears that the article in the Edinburgh Review from which this lecture is taken was the result of a ‘sharply-seasoned and well-sustained’ discussion with Lamb, kept up till midnight.

115. Roderick Random. Published in 1748, when Smollett was 27; Tom Jones was published in 1749, when Fielding was 42.

116. Intus et in cute. Persius, Satires, III. 30.

117. Peregrine Pickle ... and Launcelot Graves. 1751 and 1762 respectively.

Humphrey Clinker and Count Fathom. 1771 and 1753 respectively.

Richardson. The three novels of Samuel Richardson (1689-1761) appeared as follows: Pamela in 1740; Clarissa Harlowe in 1747-8; Sir Charles Grandison in 1753.

119. Dr. Johnson ... when he said, etc. Boswell’s Life of Johnson (ed. G. B. Hill), II. 174.

120. ‘Books are a real world,’ etc. Wordsworth, Personal Talk, St. 3.

Sterne. Laurence Sterne’s (1713-1768) Tristram Shandy appeared in 9 vols. 1759-1767, and A Sentimental Journey (2 vols.) in 1768.

121. Goldsmith ... should call him, etc. Boswell’s Life of Johnson (ed. G. B. Hill), II. 222.

123. ‘Have kept the even tenor of their way.’ Gray’s Elegy, 76.

Evelina, Cecilia, and Camilla. By Frances Burney, Madame D’Arblay (1752-1840), published respectively in 1778, 1782, and 1796.

Mrs. Radcliffe. Ann Radcliffe (1764-1822), author of The Romance of the Forest (1791), The Mysteries of Udolpho (1794), etc.

‘Enchantments drear.’ Il Penseroso, 119.

Mrs. Inchbald. Elizabeth Inchbald (1753-1821), novelist, dramatist, and actress. Her Nature and Art appeared in 1796, A Simple Story in 1791.

Miss Edgeworth. Maria Edgeworth (1767-1849). Castle Rackrent appeared in 1800.

Meadows. In The Wanderer.

Note. The Fool of Quality, by Henry Brooke (1766); David Simple, by Sarah Fielding (1744); and Sidney Biddulph, by Mrs. Sheridan (1761).

124. It has been said of Shakspeare, etc. By Pope. See Hazlitt’s Characters of Shakespear’s Plays, vol. I. p. 171 and note.

‘There is nothing so true as habit.’ Windham, Speech on the Conduct of the Duke of York, Speeches, III. 205, March 14, 1809.

125. ‘Stand so [not] upon the order,’ etc. Macbeth, Act III. Sc. 4.

The green silken threads, etc. Don Quixote, Part II. IV. Chap. 58.

The Wanderer. 1814.

‘The gossamer,’ etc. Romeo and Juliet, Act II. Sc. 6.

127. The Castle of Otranto. By Horace Walpole (1764).

Quod sic mihi, etc. Horace, Ars Poetica, 188.

The Recess, by Sophia Lee (1785); The Old English Baron, by Clara Reeve, originally published in 1777 under the title of ‘The Champion of Virtue, a Gothic Story.’

‘Dismal treatises.’ Macbeth, Act V. Sc. 5.

The Monk, by Matthew Gregory Lewis, published in 1795 as ‘Ambrosio, or the Monk.’

‘All the luxury of woe.’ Moore, Juvenile Poems, stanzas headed ‘Anacreontic,’ beginning ‘Press the grape, and let it pour,’ etc.

128. ‘His chamber,’ etc. The Faerie Queene, Book II. Canto ix. St. 50.

129. ‘Familiar in our mouths,’ etc. Henry V., Act IV. Sc. 3.

130. The author of Caleb Williams. William Godwin (1756-1836). Caleb Williams appeared in 1794, St. Leon in 1799, Mandeville in 1817.

‘Action is momentary,’ etc. These lines are slightly misquoted from Wordsworth’s tragedy, The Borderer. See note to vol. IV., p. 276.

132. Political Justice. An Inquiry concerning Political Justice and its Influence on Morals and Happiness, 1793.

‘Where his treasure,’ etc. St. Matthew, vi. 21.

ЛЕКЦИЯ VII. О РАБОТАХ ХОГАРТА — О ВЕЛИКОМ И ФАМИЛЬЯРНОМ СТИЛЕ ЖИВОПИСИ

Большая часть этой лекции взята из двух статей в «Экзаминере», переизданных в «Круглом столе». См. том I, стр. 25-31, и примечания к ним.

133. Hogarth. William Hogarth (1697-1764).

‘Instinct in every part.’ Cf. ‘Instinct through all proportions low and high.’ Paradise Lost, XI. 562.

‘Other pictures we see, Hogarth’s we read.’ ‘Other pictures we look at,—his prints we read.’ Lamb’s Essay on the Genius and Character of Hogarth, referred to below, p. 138.

Not long ago. In 1814.

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

134. ‘A person, and a smooth dispose,’ etc. Othello, Act I. Sc. 3.

‘Vice loses half,’ etc. Burke, Reflections on the Revolution in France (Select Works, ed. Payne, II. 89).

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

‘Frequent and full,’ etc. Paradise Lost, I. 795-7.

138. Mr. Lamb’s Essay. Published in The Reflector (1811) and reprinted in Poems, Plays and Essays (ed. Ainger).

What distinguishes, etc. The remainder of the lecture from this point had not appeared in The Examiner or The Round Table.

139. Mr. Wilkie. David Wilkie (1785-1841), Royal Academician 1811, knighted 1836.

Teniers. David Teniers, the younger (1610-1690).

‘To shew vice,’ etc. Adapted from Hamlet, Act III. Sc. 2.

140. ‘The very error of the time.’ Cf. ‘The very error of the moon,’ Othello, Act V. Sc. 2.

‘Your lungs,’ etc. As You Like It, Act II. Sc. 7.

Bagnigge Wells. Sadler’s Wells. Hazlitt refers to Hogarth’s ‘Evening,’ one of the four ‘Times of Day.’

142. Parson Ford. Johnson’s cousin, Cornelius Ford. See Boswell’s Life of Johnson (ed. G. B. Hill), i. 49. The figure in Hogarth’s picture has also been identified with ‘Orator’ Henley.

143. ‘Die of a rose,’ etc. Pope, Essay on Man, 1, 200.

In the manner of Ackerman’s dresses for May. Moore, Horace, Ode XI., Lib. 2. Freely translated by the Pr—ce R—g—t.

144. ‘The Charming Betsy Careless.’ See the last of the series of ‘The Rake’s Progress,’ the scene in Bedlam. One of the lunatics has scratched the name on the bannisters.

‘Stray-gifts of love and beauty.’ Wordsworth, Stray Pleasures.

145. Sir Joshua Reynolds. See Table-Talk, vol. VI. p. 131 et seq.

146. ‘Conformed to this world,’ etc. Romans, xii. 2.

‘Give to airy nothing,’ etc. A Midsummer Night’s Dream, Act V. Sc. 1.

‘Ignorant present.’ Macbeth, Act I. Sc. 5.

Note. ‘Nay, nay,’ etc. ‘Na, na! not that way, not that way, the head to the east.’ Guy Mannering, chap. 55.

148. It is many years since, etc. About 1798, at St. Neots, in Huntingdonshire. Cf. the essay ‘On Going a Journey’ in Table-Talk, vol. VI. p. 185.

‘How was I then uplifted.’ Troilus and Cressida, Act III. Sc. 2.

‘Temples not made with hands,’ etc. 2 Corinthians, V. 1.

In the Louvre. In 1802, when the Louvre still contained the spoils of Buonaparte’s conquests. Cf. Table-Talk, vol. VI. pp. 15 et seq. and notes thereon.

‘All eyes shall see me,’ etc. Cf. Romans, xiv. 11.

149. There ‘stood the statue,’ etc. ‘So stands the statue that enchants the world.’ Thomson, The Seasons, Summer, 1347. The statue is the Venus of Medici.

‘There was old Proteus,’ etc. Wordsworth’s Sonnet, ‘The world is too much with us,’ adapted.

The stay, the guide, etc. An unacknowledged quotation from Wordsworth’s Lines composed a few miles above Tintern Abbey, 109-110.

‘Smoothed the raven down,’ etc. Comus, 251.

ЛЕКЦИЯ VIII. О КОМИКАХ ПРОШЛОГО ВЕКА

Значительная часть начала этой лекции взята из статьи в «Экзаминере» (20 августа 1815 г.), переизданной в «Круглом столе». См. том I, стр. 10-14, и примечания.

PAGE

150. ‘Where it must live,’ etc. Othello, Act II. Sc. 4.

‘To see ourselves,’ etc. Burns, To a Louse.

151. ‘Present no mark to the foeman.’ Henry IV., Part II., Act III. Sc. 2. Wars should be Shadow.

152. The authority of Sterne, etc. See Tristram Shandy, I. 21.

l. 22. In the third edition a passage is interpolated from Hazlitt’s letter to The Morning Chronicle, Oct. 15, 1813.

‘The ring,’ etc. Pope, Moral Essays, III. 309-10.

Angelica, etc. All these characters are in Congreve’s Love for Love.

The compliments which Pope paid to his friends. Cf. the essay ‘On Persons one would wish to have seen,’ where some of these compliments are quoted.

153. The loves of the plants and the triangles. Erasmus Darwin’s poem ‘The Loves of the Plants’(1789) was the subject of Canning’s famous parody ‘The Loves of the Triangles’ in The Anti-Jacobin.

Berinthias and Alitheas. Berinthia in Vanbrugh’s The Relapse; Alithea in Wycherley’s The Country Wife.

Beppo, etc. Lord Byron’s Beppo (1818), Campbell’s Gertrude of Wyoming (1809), Scott’s Lady of the Lake (1810). Madame De Staël’s Corinne appeared in 1807.

l. 17. In the third edition a long passage from Hazlitt’s letter to The Morning Chronicle is here inserted.

‘That sevenfold fence.’ See note to vol. I. p. 13, and cf. A Reply to Malthus, vol. IV. p. 101.

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

‘Almost afraid to know itself.’ Macbeth, Act IV. Sc. 3.

Mr. Farren. William Farren (1786-1861). Lord Ogleby in Colman and Garrick’s The Clandestine Marriage was one of his best parts.

Note. See vol. I. p. 313.

155. Jeremy Collier. Jeremy Collier’s (1650-1726) Short View of the Immorality and Profaneness of the English Stage appeared in March 1697-8.

Mrs. Centlivre. Susannah Centlivre (1667?-1723). The Busy Body appeared in 1709, The Wonder in 1714.

156. The scene near the end. The Wonder, Act V. Sc. 2.

‘Roast me these Violantes.’ Ibid. Act II. Sc. 1.

156. In the third edition the following account of The Busy Body, taken from Oxberry’s The New English Drama (Vol. VI.) is inserted:

‘“The Busy Body” is a comedy that has now held possession of the stage above a hundred years (the best test of excellence); and the merit that has enabled it to do so, consists in the ingenuity of the contrivance, the liveliness of the plot, and the striking effect of the situations. Mrs. Centlivre, in this and her other plays, could do nothing without a stratagem; but she could do everything with one. She delights in putting her dramatis personæ continually at their wit’s end, and in helping them off with a new evasion; and the subtlety of her resources is in proportion to the criticalness of the situation and the shortness of the notice for resorting to an expedient. Twenty times, in seeing or reading one of her plays, your pulse beats quick, and you become restless and apprehensive for the event; but with a fine theatrical sleight of hand, she lets you off, undoes the knot of the difficulty, and you breathe freely again, and have a hearty laugh into the bargain. In short, with her knowledge of chambermaids’ tricks, and insight into the intricate foldings of lovers’ hearts, she plays with the events of comedy, as a juggler shuffles about a pack of cards, to serve his own purposes, and to the surprise of the spectator. This is one of the most delightful employments of the dramatic art. It costs nothing—but a voluntary tax on the inventive powers of the author; and it produces, when successfully done, profit and praise to one party, and pleasure to all. To show the extent and importance of theatrical amusements (which some grave persons would decry altogether, and which no one can extol too highly), a friend of ours,[49] whose name will be as well known to posterity as it is to his contemporaries, was not long ago mentioning, that one of the earliest and most memorable impressions ever made on his mind, was the seeing “Venice Preserved” acted in a country town when he was only nine years old. But he added, that an elderly lady who took him to see it, lamented, notwithstanding the wonder and delight he had experienced, that instead of “Venice Preserved,” they had not gone to see “The Busy Body,” which had been acted the night before. This was fifty years ago, since which, and for fifty years before that, it has been acted a thousand times in town and country, giving delight to the old, the young, and middle-aged, passing the time carelessly, and affording matter for agreeable reflection afterwards, making us think ourselves, and wish to be thought, the men equal to Sir George Airy in grace and spirit, the women to Miranda and Isabinda in love and beauty, and all of us superior to Marplot in wit. Among the scenes that might be mentioned in this comedy, as striking instances of happy stage effect, are Miranda’s contrivance to escape from Sir George, by making him turn his back upon her to hear her confession of love, and the ludicrous attitude in which he is left waiting for the rest of her speech after the lady has vanished; his offer of the hundred pounds to her guardian to make love to her in his presence, and when she receives him in dumb show, his answering for both; his situation concealed behind the chimney-screen; his supposed metamorphosis into a monkey, and his deliverance from thence in that character by the interference of Marplot; Mrs. Patch’s sudden conversion of the mysterious love letter into a charm for the toothache, and the whole of Marplot’s meddling and blunders. The last character is taken from Dryden and the Duchess of Newcastle; and is, indeed, the only attempt at character in the play. It is amusing and superficial. We see little of the puzzled perplexity of his brain, but his actions are absurd enough. He whiffles about the stage with considerable volubility, and makes a very lively automaton. Sir George Airy sets out for a scene or two in a spirited manner, but afterwards the character evaporates in the name; and he becomes as commonplace as his friend Charles, who merely laments over his misfortunes, or gets out of them by following the suggestions of his valet or his valet’s mistress. Miranda is the heroine of the piece, and has a right to be so; for she is a beauty and an heiress. Her friend has less to recommend her; but who can refuse to fall in love with her name? What volumes of sighs, what a world of love, is breathed in the very sound alone—the letters that form the charming name of Isabinda.’

157. ‘The one cries Mum,’ etc. The Merry Wives of Windsor, Act 5. Sc. 2.

Note. See first edition (1714), pp. 35-6.

158. ‘‘Some soul of goodness,’ etc. Henry V., Act IV. Sc. 1.

His Funeral. Produced in 1701.

‘All the milk of human kindness.’ Macbeth, Act I. Sc. 5.

The Conscious Lovers. 1722. Hazlitt refers to Act III. Sc. 1.

Parson Adams against me. See Joseph Andrews, Book III. chap. II.

Addison’s Drummer. 1715.

‘An Hour after Marriage.’ Three Hours after Marriage (1717), the joint production of Gay, Pope, and Arbuthnot.

‘An alligator stuff’d.’ Romeo and Juliet, Act V. Sc. 1.

Gay’s What-d’ye-call-it. 1715.

‘Polly.’ Published in 1728. The representation was forbidden by the Court.

Last line but one. In the third edition Hazlitt’s essay ‘On the Beggar’s Opera’ (see vol. I. pp. 65-6) is here introduced.

159. The Mock Doctor. 1732.

Tom Thumb. Afterwards called The Tragedy of Tragedies, or the Life and Death of Tom Thumb the Great (1730; additional Act, 1731).

Lord Grizzle. In Tom Thumb.

‘‘Like those hanging locks,’ etc. Fletcher, The Faithful Shepherdess, Act I. Sc. 2.

‘Fell of hair,’ etc. Macbeth, Act V. Sc. 5.

‘Hey for Doctor’s Commons.’ Tragedy of Tragedies, etc., Act II. Sc. 5.

‘From the sublime,’ etc. See ante, note to p. 23.

Lubin Log. In James Kenney’s farce, Love, Law, and Physic, produced 1812. See ante, p. 192.

The Widow’s Choice. Allingham’s Who Wins, or The Widow’s Choice, 1808.

‘Is high fantastical.’ Twelfth Night, Act I. Sc. 1.

160. The hero of the Dunciad. Cibber was substituted for Theobald as the King of Dulness in consequence of his famous letter to Pope, published in 1742.

‘By merit raised,’ etc. Paradise Lost, II. 5-6.

His Apology for his own Life. Published in 1740. Cf. The Round Table, vol. I. pp. 156-7.

His account of his waiting, etc. An Apology, etc., 2nd ed. 1740, chap. III. pp. 59-60.

Mr. Burke’s celebrated apostrophe. Reflections on the Revolution in France (Select Works, ed. Payne, II. 89).