Chapter XXXV: Act V: Sc. 1

_To elevate and surprise._ Frequently quoted by Hazlitt from the
Duke of Buckingham’s _The Rehearsal_, Act I. Sc. 1.

‘_But I told him_,’ _etc._ _Henry V._, Act II. Sc. 3.

313. ‘_Sufficient to the day_,’ _etc._ _S. Matthew_, vi. 34.

‘_’Twould thin the land_,’ _etc._ _The Beggar’s Opera_, Act III.
Sc. 4.

314. ‘_Anon as patient_,’ _etc._ Cf. _Hamlet_, Act V. Sc. 1.

MR. MACREADY’S MACBETH

Macready played Macbeth for the first time on June 9, 1820. Cf. this with the notice of Kean’s Macbeth (vol. VIII. p. 204).

315. ‘_Air-drawn dagger_,’ _etc._ _Macbeth_, Act III. Sc. 4.

‘_Thick-coming fancies._’ _Ibid._ Act V. Sc. 3.

‘_Docked and curtailed._’ Cf. ‘We know that they [bishops] hate
to be dockt and clipt.’ Milton, _Reformation in England_, I.

‘_Twa lang Scotch miles._’ Cf. ‘We think na on the lang Scots
miles.’ _Tam O’Shanter_, 7.

‘_Oh Hell-kite, all?_’ _Macbeth_, Act IV. Sc. 3.

_David Rizzio._ See vol. VIII. p. 459.

315. _The Lord of the Manor._ A comic opera by General John Burgoyne
(1722–1792), produced in 1780.

_The Libertine._ An opera attributed to Isaac Pocock, produced in
1817. See vol. VIII. p. 370.

_Mr. Contrast._ In _The Lord of the Manor_.

‘_A speaking face._’ Hazlitt was perhaps thinking of the lines in
_Bombastes Furioso_ (Sc. 1):

‘——Fusbos, give place,
You know you haven’t got a singing face.’

_Moll Flagon._ In _The Lord of the Manor_.

‘_Let those laugh_,’ _etc._ Cf.

‘Let those love now, who never lov’d before;
Let those who always lov’d, now love the more.’
Parnell, Catullus, _The Vigil of Venus_.

317. _Mrs. Salmon._ Eliza Salmon (1787–1849), a well-known concert and
oratorio singer. The references in this paragraph to Miss
Stephens and the quotations are conclusive evidence of
Hazlitt’s authorship of the notice.

_D’une pathétique_, _etc._ Rousseau, _Confessions_, Liv. I.

‘_Thoughts of which_,’ _etc._ Cf. ‘Yet loss of thee would never
from my heart,’ _Paradise Lost_, IX. 912.

‘_With other notes_,’ _etc._ _Paradise Lost_, III. 17.

_The voice of Liberty_, _etc._ The Revolution in Spain had broken
out early in 1820, and on March 10 King Ferdinand had
proclaimed the Liberal Constitution of 1812.

‘_Had three ears again._’ Cf. ‘Had I three ears, I’d hear thee.’
_Macbeth_, Act IV. Sc. 1.

‘_Know the return of spring._’ _The Beggar’s Opera_, Act II. Sc.
1.

GUY FAUX

See vol. IV. (_The Spirit of the Age_), p. 365 and note, and the essay ‘On Persons One Would Wish to Have Seen’ (republished in vol. XII. of the present edition), from which it appears that the subject was suggested to Hazlitt by Lamb. Lamb himself wrote an essay (not republished by him) on the same subject in _The London Magazine_ for November 1823. This essay, in which a chaffing reference is made to Hazlitt’s three papers, was partly founded on an earlier essay ‘On the Probable Effects of the Gunpowder Treason,’ published in _The Reflector_, 1811. See _The Works of Charles and Mary Lamb_, ed. E. V. Lucas, I. 236 and notes.

317. _Mr. Hogg’s Jacobite Relics._ Published in 2 vols. in 1819. In
the Introduction Hogg says, ‘And now, when the horrors of the
Catholic religion have ceased to oppress the minds of men,
there is but one way of thinking on the rights of the Stuarts
throughout the realm.’

_A Popish Priest._ Guy Fawkes (1570–1606) was not a priest.

318. _Which Mr. Hogg treats_, _etc._ Hazlitt seems to be referring to
the general sense of the Introduction to _The Jacobite Relics_.

‘_The best of cut-throats._’ _Macbeth_, Act III. Sc. 4.

319. _Regulus._ The stories of the self-sacrifice of Regulus and of
Codrus, the last King of Athens, are familiar.

320. ‘_The compunctious visitings of nature._’ _Macbeth_, Act I. Sc.
5.

‘_The spirit is willing_,’ _etc._ _S. Matthew_ xxvi. 41.

320. _The keys of the House of Commons_, _etc._ The allusion is to a
passage in John Cam Hobhouse’s pamphlet, _A Trifling Mistake_,
for which as a breach of privilege he was committed to Newgate
in 1819.

_Margaret Lambrun._ This story is told as a ‘popular historical
tradition’ by Miss Strickland in her _Lives of the Queens of
England_.

321. _Sandt._ Karl Ludwig Sand (1795–1820), who had assassinated
Kotzebue the dramatist (March 23, 1819).

‘_Well done_,’ _etc._ _S. Matthew_, xxv. 21.

‘_No dim doubts alloy._’ Lamb, Lines _On the Celebrated Picture
by Lionardo da Vinci, called the Virgin of the Rocks_.

‘_Quiring_,’ _etc._ _The Merchant of Venice_, Act V. Sc. 1.

322. ‘_This night_,’ _etc._ Cf. _S. Luke_ xxiii. 43.

‘_Dross compared_,’ _etc._ Cf. _Romans_ viii. 18.

‘_Disembowelled_,’ _etc._ Burke, _Reflections on the Revolution
in France_ (_Select Works_, ed. Payne, II. 101).

_The Constitutional Association._ See vol. VI. (_Table Talk_),
note to p. 190.

_The concealed Editor of Blackwood’s Magazine._ This question of
the editorship of _Blackwood_ had recently (Feb. 16, 1821) led
to the fatal duel between John Scott and Lockhart’s friend,
Christie.

THE SAME SUBJECT CONTINUED

323. ‘_The infinite agitation of wit._’ Bacon, _Advancement of
Learning_, Book I. iv. 5.

‘_The soul of goodness_,’ _Henry V._, Act IV. Sc. 1.

324. ‘_According to knowledge_,’ _Romans_ x. 2.

‘_A consummation_,’ _etc._ _Hamlet_, Act III. Sc. 1.

‘_A king is but a king_ [man],’ _etc._ _Reflections on the
Revolution in France_ (_Select Works_, ed. Payne, II. 90).

‘_As the vine_,’ _etc._ _Paradise Lost_, IV. 307.

325. ‘_Through the airy region_,’ _etc._ _Romeo and Juliet_, Act II.
Sc. 2.

326. Note. ‘_As men should serve a cucumber_,’ _etc._ _The Beggar’s
Opera_, Act I. Sc. 1.

327. ‘_Bears a charmed life._’ _Macbeth_, Act V. Sc. 8.

‘_All mortal consequences._’ _Ibid._ Act V. Sc. 3.

‘_Set duty in one eye_,’ _etc._ _Julius Cæsar_, Act I. Sc. 2.

‘_Set but a Scotsman_,’ _etc._ Burns, _The Author’s Earnest Cry
and Prayer_, _etc._, Postscript.

‘_Happy warrior._’ See Wordsworth’s _Character of a Happy
Warrior_ (1807).

THE SAME SUBJECT CONCLUDED

328. _The Cid._ Southey’s translation of the _Chronicle of the Cid_
was published in 1808.

332. _Mr. Kean._ An American lion was presented to Kean by Sir Edward
Tucker. Barry Cornwall (_Life of Edmund Kean_, II. 135) says
that ‘it amused the tragedian (who was fond of simple
pleasures) to allure his acquaintance into the room, and set
them face to face with the beast.’

‘_Masterless passion_,’ _etc._ Cf. _The Merchant of Venice_, Act
IV. Sc. 1.

‘_The shot of accident_,’ _etc._ _Othello_, Act IV. Sc. 1.

333. _Like Hotspur._ _1 Henry IV._, Act II. Sc. 4.

_Regnault de St. Jean Angely._ Michel Louis Étienne, Comte
Regnaud de Saint Jean D’Angely (1762–1819), a well-known
politician of the Revolution and under Buonaparte. The
reference seems to be to his conduct in 1814 when in command of
the National Guard at Paris.

333. ‘_Be mine to read_,’ _etc._ Gray, Letter to West (_Letters_, ed.
Tovey, I. 97).

‘_From worldly care_,’ _etc._ _The Faerie Queene_, I. IV. 20.

CHARACTER OF MR. CANNING

This essay was included in the Paris edition (1825) and subsequent editions of _The Spirit of the Age_. See vol. IV. p. 186.

334. ‘_The child_,’ _etc._ Wordsworth, ‘My heart leaps up,’ etc.

‘_Like as the sun-burnt Indians_,’ _etc._ _The Faerie Queene_,
III. XII. 8.

336. ‘_Like the morn_,’ _etc._ _Paradise Lost_, V. 310–311.

‘_Scylla heard_,’ _etc._ Cf. _Comus_, 257–259.

‘_The nation’s Great Divan._’ Cf. ‘August divan of the British
Senate.’ H. Walpole, Letters (1857), IV. 130.

337. _Reply to Sir John Coxe Hippesley._ On March 11, 1813.
_Speeches_, ed. Therry, III. 396.

338. ‘_The worse the better reason._’ _Paradise Lost_, II. 113–4.

‘_That makes these odds all even._’ _Measure for Measure_, Act
III. Sc. 1.

‘_He aggravates_,’ _etc._ _A Midsummer Night’s Dream_, Act I. Sc.
2.

‘_Quite chopfallen._’ Cf. _Hamlet_, Act V. Sc. 1.

339. ‘_The inimitable satire of Cervantes._’ See Canning’s Plymouth
speech, October 1823.

340. ‘_Pluck out the heart_,’ _etc._ _Hamlet_, Act III. Sc. 2.

‘_The deliverance of mankind._’ Cf. Southey, _Carmen Triumphale_.

‘_Of his port_,’ _etc._ Chaucer, _The Canterbury Tales_,
Prologue, 69.

‘_Freezes his spirits up_,’ _etc._ Cf. _2 Henry IV._, Act I. Sc.
1.

341. _Described so well_, _etc._ In his speech on receiving the
freedom of Plymouth, October 1823.

‘_The golden round_,’ _etc._ Cf. _Richard II._, Act III. Sc. 2.

‘_And to call evil good_,’ etc. _Isaiah_ v. 20.

‘_Revered and ruptured Ogden._’ For this famous phrase, used
during the debates on the Indemnity Bill, 1818, see _Hansard_,
XXXVII. 1026, and Stapleton’s _Political Life of Canning_, I.
86.

_Rejected Addresses._ By James and Horace Smith, published in
1812.

‘_Poetry of the Anti-Jacobin._’ Republished (1801) from _The
Anti-Jacobin_.

342. ‘_To turn what is serious_,’ _etc._ Cf. ‘What should be great,
you turn to farce.’ Prior, _The Ladle_, 139.

Note. See _The Three Trials of William Hone_ (1818, First Trial,
pp. 38–9), where a verse of Jekyll’s parody is quoted from _The
Spirit of the Journals_.

Note. ‘_A wit’s a feather_,’ _etc._ Pope, _An Essay on Man_, IV.
247–8.

THE DANDY SCHOOL

This essay, now republished for the first time, is attributed to Hazlitt by Mr. W. C. Hazlitt (_Memoirs_, _etc._, I. xxix) and by Ireland (_List of the Writings of William Hazlitt and Leigh Hunt_, p. 76). The MS., in Hazlitt’s hand-writing, is still in existence.

343. _Vivian Grey._ Disraeli’s first novel, published 1826–7. The
dedication was as follows: ‘To the best and greatest of men I
dedicate these volumes. He, for whom it is intended, will
accept and appreciate the compliment: those, for whom it is not
intended, will—do the same.’

344. _Long’s._ A well-known hotel in Bond Street.

_Almack’s._ Assembly Rooms (now known as ‘Willis’s Rooms’), in
King Street, St. James’s.

_Mr. Martin’s bill_, _etc._ Richard Martin’s (1754–1834) efforts
on behalf of animals were bitterly opposed on all sides.

_Mr. Croker_, _etc._ ‘The Dulwich collection ... was quite as
distant as Russell Square, though he did not profess to know
exactly where Russell Square was.’ March 28, 1825. _Hansard_,
New Series, XII. 1266.

345. _Sir Sedley Clarendels_, _etc._ In _Camilla_.

_Meadowses._ In _The Wanderer_.

346. ‘_The Court_,’ _etc._ Cf. _A Midsummer Night’s Dream_, Act III.
Sc. 2.

_Sayings and Doings._ The first series appeared in 1824, the
second in 1825 and the third in 1828.

348. _Mr. Vivacity Dull._ A character in _Vivian Grey_, said to
represent Horace Twiss.

ACTORS AND THE PUBLIC

This and the eleven following papers from _The Examiner_ of 1828 have been included in the text mainly on account of the strong internal evidence they bear of Hazlitt’s authorship. One of the papers is signed ‘W. H.,’ the rest are unsigned. During the period covered by these essays other _Theatrical Examiners_ appeared, signed ‘X’ or ‘Q.’ So far as the editors are aware, it has not been hitherto known that Hazlitt resumed regular theatrical criticism so late as 1828, but they feel that no reasonable doubt can exist with regard to his authorship of these twelve essays.

349. _Bate Dudley._ Sir Henry Bate Dudley (1745–1824), the notorious
clergyman and journalist discussed by Johnson and Boswell
(_Life_, ed. G. B. Hill, IV. 296). He was for a time editor of
_The Morning Post_.

‘_Fall into misfortune._’ Cf. _post_, note to p. 533.

‘_To tatters_,’ _etc._ _Hamlet_, Act III. Sc. 2.

350. _Who has praised Sir Walter_, _etc._ The failure of Constable and
of Ballantyne and Co., involving Scott’s financial ruin, had
occurred in 1826.

_A vulgar crim. con._ In January 1825, a verdict of £800 was
given against Kean in an action, Cox v. Kean, for criminal
conversation. In consequence of this he was for a time ‘hooted
from the stage.’

‘_The spells_,’ _etc._ Cf. _Othello_, Act I. Sc. 3.

_If an actor is indeed six feet high_, _etc._ Hazlitt probably
refers to Conway. See vol. VIII. p. 200, and _post_, p. 361.

351. ‘_The fiery soul_,’ _etc._ Dryden _Absalom and Achitophel_,
156–8.

‘_The envy_,’ _etc._ _Richard II._, Act II. Sc. 1.

_Madame Catalani._ Angelica Catalani had retired from the stage
in 1827.

_It was some time since we had seen Mr. Kean’s Shylock_, _etc._
This paragraph makes Hazlitt’s authorship of this _Theatrical
Examiner_ quite certain. Cf. vol. VIII. p. 179.

FRENCH PLAYS

352. _Monsieur Perlet._ Adrien Perlet (1795–1850), a well-known French
comedian, who had made his first appearance in 1814.

‘_Upturned eyes_,’ _etc._ Cf. _Romeo and Juliet_, Act II. Sc. 2.

352. _Madame Pasta._ Cf. vol. VII. (_The Plain Speaker_), pp. 324 _et
seq._

‘_A friend of ours_,’ _etc._ See Patmore’s _My Friends and
Acquaintance_ (vol. III. pp. 32–5). According to Patmore, the
following passage was intended by Hazlitt to form part of the
_Conversations with Northcote_ in _The New Monthly Magazine_,
but was suppressed by the editor:—

‘He then asked me if I had seen anything of H——?[78] I said, yes;
and that he had vexed me; for I had shown him some fine heads
from the Cartoons, done about a hundred years ago (which
appeared to me to prove that since that period those noble
remains have fallen into a state of considerable decay), and
when I went out of the room for a moment, I found the prints
thrown carelessly on the table, and that he had got out a
volume of Tasso, which he was spouting, as I supposed, to let
me understand that I knew nothing of art, and that he knew a
great deal about poetry.

‘I said I never heard him speak with enthusiasm of any painter
or work of merit, nor show any love of art, except as a
puffing-machine for him to get up into to blow a trumpet in
his own praise. Instead of falling down and worshipping such
names as Raphael and Michael Angelo, he is only considering
how he may, by storm or stratagem, place himself beside them,
on the loftiest seats of Parnassus, as ignorant country
squires affect to sit with judges on the bench. He told me he
had had a letter from Wilkie, dated Rome, with three marks of
admiration, and that he had dated his answer “Babylon the
Great,” with four marks of admiration. Stuff! Why must he
always “out-Herod Herod?”[79] Why must the place where he is
always have one note of admiration more than any other? He
gave as his reasons, indeed, our river, our bridges, the
Cartoons, and the Elgin Marbles—the two last of which,
however, are not our own. H. should have been the boatswain
of a man-of-war: he has no other ideas of glory than those
which belong to a naval victory, or to vulgar noise and
insolence; not at all as something in which the whole world
may participate alike. I hate “this stamp exclusive and
professional.”[80] He added that Wilkie gave a poor account
of Rome, and seemed, on the whole, disappointed. He (Haydon)
should not be disappointed when he went, for his expectations
were but moderate. “Ay,” said Northcote, “that is like the
speech of a little, crooked, conceited painter of the name of
Edwards, who went to Italy with Romney and Humphreys, and
when they looked round the Vatican, he turned round to Romney
and said, ‘Egad, George, we’re bit.’”

‘I said that when I heard stories of this kind, of even clever
men who seemed to have no idea or to take no interest except in
what they themselves could do, it almost inclined me to be of
Peter Pindar’s opinion, who pretended to prefer taste to
genius: “Give me,” said he, “one man of taste, and I will find
you twenty men of genius.” N. replied, “It is a pity you should
be of that opinion, for all your acquaintances are great
geniuses; and yet, I fancy, they have no admiration for anybody
but themselves.’”

352. _Sir William Curtis’s._ Sir William Curtis (1752–1829), Lord
Mayor of London (1795) and for long M.P. for the City.

353. ‘_Our Cupid_,’ _etc._ Cf. The Earl of Dorset’s song, _Dorinda_.

354. _The age of Louis XIV._, _etc._ Cf. a passage in vol. IX. (_Notes
of a Journey_, _etc._), p. 150.

354. ‘_New manners_,’ _etc._ Thomas Warton, Sonnet ‘Written in a Blank
Leaf of Dugdale’s Monasticon.’

355. ‘_Unmixed with baser matter._’ _Hamlet_, Act I. Sc. 5.

_A certain happy-spirited writer._ Leigh Hunt, no doubt, whose
recently published _Lord Byron and Some of his Contemporaries_
had created some sensation.

FRENCH PLAYS (_continued_)

This article in _The Examiner_ begins with a long editorial passage written in a chaffing spirit and praising the former notice of the French Plays.

356. ‘_That soul of pleasure_,’ _etc._ Cf. Pope, _Moral Essays_, III.
306.

357. l. 15. _Ariste._ This should be Valère.

358. _There is a credulous and unqualified assent_, _etc._ Cf. a
passage in vol. VIII. (_English Comic Writers_), p. 29, where
almost the same words are used.

‘_To the woods_,’ _etc._ Quoted elsewhere by Hazlitt.

THE THEATRES AND PASSION WEEK

This paper is signed ‘W. H.’

358. ‘_Because thou art virtuous_,’ _etc._ _Twelfth Night_, Act II.
Sc. 3.

359. ‘_Seizing_ [tear] _their pleasures_,’ _etc._ Marvell, _To his Coy
Mistress_.

360. _Ranting Croly._ The Rev. George Croly (1780–1860), a contributor
to _Blackwood’s Magazine_, and to Jerdan’s _Literary Gazette_.

‘_Stretched upon the rack_,’ _etc._ Cf.

‘Than on the torture of the mind to lie
In restless ecstasy.’ _Macbeth_, Act III. Sc. 2.

‘_All the natural ills_ [shocks], _etc._ _Hamlet_, Act III. Sc.
1.

‘_To jest_,’ _etc._ _Love’s Labour’s Lost_, Act V. Sc. 2.

361. ‘_What is set down for them._’ _Hamlet_, Act III. Sc. 2.

CHARLES KEAN

362. _Young Mr. Kean._ Charles John Kean (1811?–1868), second son of
Edmund Kean. He had made his first appearance at the opening of
the Drury Lane season, October 1, 1827.

_Lovers’ Vows._ Mrs. Inchbald’s adaptation from Kotzebue (1798).

_The Marquis of Douro._ Arthur Richard (1807–1884), eldest son of
the Duke of Wellington, afterwards second Duke.

363. _We do not presume_, _etc._ This adaptation of a passage from
Burke’s _A Letter to a Noble Lord_ (_Works_, Bohn, V. 114) is
quoted elsewhere by Hazlitt.

_The Dumb Savoyard._ By Thompson, acted thirty-eight times.

364. _Mrs. W. West._ Mrs. W. West (1790–1876) who first appeared (as
Miss Cooke) in London in 1812. She married William West in
1815.

_Meggy Macgilpin._ Maggy Macgilpin in O’Keeffe’s _Highland Reel_
(1788).

_Keeley._ Robert Keeley (1793–1869). His height was five feet two
inches.

365. ‘_A man made after supper_,’ _etc._ _2 Henry IV._, Act III. Sc.
2.

‘_Vice to be hated_,’ _etc._ Cf. Pope, _Essay on Man_, II.
217–18.

366. _Ecole des Veillards._ By Casimir Delavigne (1823).

SOME OF THE OLD ACTORS

This notice is full of favourite quotations and of sentiments which Hazlitt had expressed elsewhere. See specially the Dramatic Essays in vol. VIII.

366. ‘_Warbles_,’ _etc._ _L’ Allegro_, 134.

‘_Fierce extremes._’ _Paradise Lost_, II. 599.

_The Invincibles._ A musical farce, acted 34 times.

‘_Our mind’s eye._’ Cf. _Hamlet_, Act I. Sc. 2.

‘_Our heart’s core._’ Cf. _Ibid._ Act III. Sc. 2.

367. ‘_Fancy’s midwife._’ Cf. ‘The fairies’ midwife.’ _Romeo and
Juliet_, Act I. Sc. 4.

‘_Gay creatures_,’ _etc._ Comus, 299–301.

‘_Tears_,’ _etc._ _Paradise Lost_, I. 620.

368. ‘_Mr. Kean’s Othello_,’ _etc._ From The _Times_. See _post_, p.
406, and vol. VIII. p. 414 and notes.

‘_With kindliest change._’ _Paradise Lost_, V. 336.

THE COMPANY AT THE OPERA

369. _Mr. Peake._ Richard Brinsley Peake (1792–1847). The farce here
noticed is called by Genest ‘Little Offerings.’

‘_Crabbed age_,’ _etc._ _The Passionate Pilgrim_, Stanza XII.

_Miss Goward._ Mary Ann Goward (1805?–1899), who afterwards
became so well known as Mrs. Keeley. She married Keeley in
1829.

370. _Madame Caradori._ Madame Caradori-Allan (1800–1865), who made
her début at the Italian Opera in London in 1822.

_Mademoiselle Sontag._ Henriette Sontag (1806–1854). She married
Count Rossi in 1828 and retired from the stage till near the
end of her life.

371. _Brocard._ Suzanne Brocard (1798–1855), whose first appearance at
the Comédie Française was in 1817 and who retired in 1839.

372. _Lord Byron and his Contemporaries._ Cf. _ante_, note to p. 355.

‘_The mob_,’ _etc._ Pope, _Imitations of Horace_, Book II. Ep. I.
108.

THE BEGGAR’S OPERA

373. ‘_Vanity, chaotic Vanity._’ Hazlitt may have had in mind the
lines in _Romeo and Juliet_ (Act I. Sc. 1), ‘O heavy lightness!
serious vanity! misshapen chaos!’

374. ‘_Waste her sweetness_,’ _etc._ Cf. Gray’s _Elegy_, 56.

_Splenetic_ ‘[splenitive] _and rash_.’ _Hamlet_, Act V. Sc. 1.

_Blanchard._ William Blanchard (1769–1835), for long a member of
the Covent Garden Company.

‘_And when the date_,’ _etc._ Butler, _Hudibras_, Part I. Canto
1. 285–6.

_De Vere._ By Robert Plumer Ward (1765–1846), published in 1827.
It was supposed by some, though denied by the author, that De
Vere was intended to represent Canning.

‘_We have heard_,’ _etc._ _2 Henry IV._, Act III. Sc. 2.

375. _Sir John Sylvester._ Sir John Silvester (1745–1822), Recorder of
London.

‘_The thief_,’ _etc._ _Leviathan_, Part I. Chap. 3.

_A Race for Dinner._ By G. H. B. Rodwell (1800–1852).

‘_And Birnam wood_,’ _etc._ _Macbeth_, Acts IV. and V.

_The Poor Gentleman._ By George Colman the Younger (1801).

375. ‘_To advantage dressed._’ Pope, _An Essay on Criticism_, 297.

376. _Miss Ellen Tree._ Ellen Tree (1805–1880), who married Charles
Kean in 1842. She was a younger sister of Mrs. Bradshaw, the
actress and singer.

377. _Miss Love._ Emma Love, afterwards Mrs. Calcroft, had made her
first appearance on the stage in 1817 at the English Opera
House.

THE TAMING OF THE SHREW AND L’AVARE

377. ‘_The lungs of others_,’ _etc._ Cf. _As You Like It_, Act II. Sc.
7.

378. _Mr. Wilkie failed_, _etc._ See _ante_, p. 252.

‘_Warble, warble._’ _As You Like It_, Act II. Sc. 5.

379. _Mademoiselle Mars._ For Mademoiselle Mars in ‘a sort of shadowy
_Catherine and Petruchio_,’ see vol. IX. p. 151.

380. _Ninette à la cour._ By Charles Simon Favart (1710–1792).

381. _Seraglio._ An opera by Dimond, produced in 1827.

_Charles the Second._ By Howard Payne, produced in 1824.

MRS. SIDDONS

381. _Pie Voleuse._ See _ante_, note to p. 304.

‘_Born to converse_,’ _etc._ Cf. Pope, _Prologue to the Satires_,
196.

_The Fall of Nineveh._ By John Martin (1789–1854). The painting
was being exhibited in Bond Street.

382. _Abridged Paradise Lost._ Mrs. Siddons published _The Story of
our First Parents selected from Milton’s Paradise Lost for the
use of young persons_, 1822.

_A triumphant peroration_, _etc._ Hazlitt no doubt refers to
Scott’s _Life of Napoleon_, published in 1827.

‘_The worst, the second fall of man._’ Cf. William Windham,
_Speeches_, II. 47 (Nov. 4, 1801).

384. ‘_Barren spectators._’ _Hamlet_, Act III. Sc. 2.

_Mr. Stanfield’s landscape back-grounds._ William Clarkson
Stanfield (1793–1867).

_Veluti in speculum._ Cf. ‘Inspicere tamquam in speculum in vitas
omnium,’ etc. Terence, _Adelphi_, Act III. Sc. 3.

THE THREE QUARTERS, ETC.

384. _The new comedy._ _Ups and Downs, or the Ladder of Life_ was the
title of the piece here noticed by Hazlitt. It was acted eight
times.

_The secretary of the Admiralty_, _etc._ Croker. Cf. _ante_, p.
344.

385. _A nice distinction in Miss Burney._ See her _Cecilia_.

_Killing no Murder._ A farce by Theodore Hook, produced in 1809.

386. ‘_Like dew-drops_,’ _etc._ _Troilus and Cressida_, Act III. Sc.
3.

‘_Fine by degrees_,’ _etc._ Prior, _Henry and Emma_, 430.

‘_They best can paint them_,’ _etc._ Pope, _Eloisa to Abelard_,
366.

_Lord Porchester’s tragedy._ _Don Pedro, King of Castile_, by
Lord Porchester, afterwards 3rd Earl of Carnarvon (1800–1849)
was produced at Drury Lane on March 10, 1828.

_Lord Morpeth’s._ Lord Morpeth, afterwards 7th Earl of Carlisle
(1802–1864) published in 1828 _The Last of the Greeks; or the
Fall of Constantinople_, a tragedy in verse.

386. _The Sphynx_, _etc._ _The Sphynx_ (1827) and _The Athenæum_
(1828) were started, and _The Argus_ (1828) was projected by
James Silk Buckingham (1786–1855).

387. ‘_Oh! dearest Ophelia_,’ _etc._ _Hamlet_, Act II. Sc. 2.

388. ‘_He knows his cue_,’ _etc._ Cf. _Othello_, Act I. Sc. 2.

MR. KEAN

389. _We do not wonder_, _etc._ Kean had played Richard III. at the
Théâtre Français in May 1828.

_Voltaire has borrowed_, _etc._ Cf. _ante_, p. 282.

‘_The poet’s eye_,’ _etc._ _A Midsummer Night’s Dream_, Act V.
Sc. 1.

390. ‘_Should be as a book_,’ _etc._ _Macbeth_, Act I. Sc. 5.

_The Hetman Platoff._ The Russian general, Matvei Ivanovich
Platoff (1757–1818), Hetman of the Cossacks of the Don. See
vol. IX. p. 465.

391. ‘_Give us pause._’ _Hamlet_, Act III. Sc. 1.

_Miss Smithson._ Harriet Constance Smithson (1800–1854), who
played frequently in France and married Hector Berlioz in 1833.

_A series of elegant bas-reliefs_, _etc._ Cf. vol. VIII. p. 456,
where the same comparison is made.

392. _Little Bartolozzi._ Miss Bartolozzi made her first appearance
(at the Haymarket) on June 17, 1828. She was a sister of Madame
Vestris.

MUNDEN’S SIR PETER TEAZLE

For Hazlitt’s connection with The _Times_ as dramatic critic see vol. VIII. p. 512. The fifteen articles reprinted for the first time in the present volume have been included upon internal evidence of Hazlitt’s authorship. No reasonable doubt can be felt with regard to any of them.

392. _Past Ten O’clock._ ‘A moderate farce’ by Dibdin, produced March
11, 1815. See Genest. In another account of Munden (vol. VIII.
p. 270) Hazlitt had referred to his ‘broad shining face’ and
‘the alarming drop of his chin.’

YOUNG’S HAMLET

Cf. this paper with the account of _Hamlet_ in _Characters of Shakespear’s Plays_, vol. I. p. 237.

394. _The Miller and his Men._ A successful melodrama by Pocock,
produced in 1813.

395. ‘_The paragon of animals._’ _Hamlet_, Act II. Sc. 2.

‘_Peaked or pined._’ _Macbeth_, Act I. Sc. 3.

‘_Oh that this too, too solid flesh_,’ _etc._ _Hamlet_, Act I.
Sc. 2.

‘_The pretty Ophelia._’ _Ibid._ Act IV. Sc. 5.

DOWTON IN THE HYPOCRITE

Cf. the notice of _The Hypocrite_ in _A View of the English Stage_, vol. VIII. pp. 245–7.

395. ‘_Very craftily qualified._’ _Othello_, Act II. Sc. 3.

MISS BRUNTON’S ROSALIND

Cf. the notices of two other Rosalinds in _A View, etc._, vol. VIII. pp. 252 and 336.

397. _Miss Brunton._ Elizabeth Brunton (1799–1860), who in 1823
married Frederick Henry Yates, the actor.

‘_Good emphasis and discretion._’ Cf. ‘With good accent and good
discretion,’ _Hamlet_, Act II. Sc. 2.

‘_The gods_,’ _etc._ _As You Like It_, Act III. Sc. 3.

MAYWOOD’S ZANGA

Hazlitt had noticed Maywood’s Shylock. See _A View_, _etc._ vol. VIII. p. 374. In 1821 Maywood wrote to Hazlitt from New York introducing a Mr. Greenhow, who was entrusted to present to Hazlitt a morsel of George Cooke’s liver. See Mr. W. C. Hazlitt’s _Memoirs_, _etc._, II. 1–2.

398. ‘_From the sound_,’ _etc._ Cf. Collins, Ode, _The Passions_,
19–20.

‘_Distilling them_,’ _etc._ Cf. _Hamlet_, Act I. Sc. 5.

‘_Too tame._’ _Ibid._, Act III. Sc. 2.

‘_’Twas I that did it._’ _The Revenge_, Act V. Sc. 2.

‘_Forced gait._’ _1 Henry IV._, Act III. Sc. 1.

KEAN’S RICHARD III.

Cf. the essay on Richard III. in _Characters of Shakespear’s Plays_ (vol. I. pp. 298–303), where Hazlitt speaks of the ‘miserable medley acted for Richard III.’ and gives some of the omitted passages as being ‘peculiarly adapted for stage effect.’ Shakespeare’s _Richard III._ was revived at Covent Garden on March 12, 1821, Macready playing Richard and Mrs. Bunn Queen Margaret.

399. ‘_Now is the winter_,’ _etc._ _Richard III._, Act I. Sc. 1.

‘_Even so!_’ _etc. Ibid._

400. ‘_They do me wrong_,’ _etc. Ibid._ Act I. Sc. 3.

‘_His grace looks cheerfully_,’ _etc. Ibid._ Act III. Sc. 4.

THE WONDER

Cf. _A View_, _etc._, vol. VIII. p. 332.

402. ‘_Snatch a grace_,’ _etc._ Pope, _An Essay on Criticism_, 155.

‘_Catch ere she falls_,’ _etc._ Pope, _Moral Essays_, II. 20.

VENICE PRESERVED

Cf. the account of Kemble’s Pierre, vol. VIII. p. 378.

403. ‘_The most replenished_,’ _etc._ _Richard III._, Act IV. Sc. 3.

SHE STOOPS TO CONQUER

403. _Borrowed from Fielding’s Joseph Andrews._ Cf. vol. III. p. 115.

404. ‘_His singularity_,’ _etc._ Johnson frequently denounced
singularity. The instances are collected in Boswell’s _Life_,
ed. G. B. Hill, II. 74–5.

KEAN’S MACBETH

405. _Except in the murder scene._ Cf. vol. VIII. p. 207.

‘_Proud and lion-hearted_,’ _etc._ Cf. ‘Be lion-mettled, proud,
and take no care,’ etc. _Macbeth_, Act IV. Sc. 1.

KEAN’S OTHELLO

405. _This young debutante._ Her name was Mrs. Robinson.

406. _Mr. Kean’s Othello_, _etc._ This passage, to the end of the
notice, was quoted more than once by Hazlitt. Cf. _ante_, p.
368 and vol. VIII. p. 414 and notes.

KEAN AND MISS O’NEILL

Cf. this with Hazlitt’s appreciation of Miss O’Neill in _The London Magazine_, vol. VIII. of the present edition, pp. 392 _et seq._

407. ‘_O’erstep the modesty_,’ _etc._ _Hamlet_, Act III. Sc. 2.

408. ‘_As one in suffering all_,’ _etc. Ibid._

‘_Abide the beating_,’ _etc._ _Twelfth Night_, Act II. Sc. 4.

THE HONEY MOON

409. ‘_What is set down for him._’ _Hamlet_, Act III. Sc. 2.

‘_Plautus was too light_,’ _etc._ Cf. _Hamlet_, Act II. Sc. 2.

‘_And near him_,’ _etc._ Collins, _Ode on the Poetical
Character_, 43–4.

‘_Grew sharp as a pen._’ _Henry V._, Act II. Sc. 3.

410. ‘_Go thou_,’ _etc._ _S. Luke_ x. 37.

MR. KEAN

410. ‘_Not Fate itself could awe._’ _Richard III._ (Cibber’s version),