65. This, we are sorry to say, relates only to the three first volumes. The fourth is in a very mixed style indeed. It looks as if the author was tired, and got somebody to help him.
65. This, we are sorry to say, relates only to the three first volumes. The fourth is in a very mixed style indeed. It looks as if the author was tired, and got somebody to help him.
66. See Mackenzie’s Life of Home, the author of Douglas.
66. See Mackenzie’s Life of Home, the author of Douglas.
67. The Duke of Wellington, it is said, cannot enter into the merits of Raphael, but he admires ‘the spirit and fire of Tintoret.’ I do not wonder at this bias. A sentiment, probably, never dawned upon his Grace’s mind; but he may be supposed to relish the dashing execution andhit or missmanner of the Venetian artist. Oh, Raphael! well is it that it was one who did not understand thee that blundered upon the destruction of humanity!
67. The Duke of Wellington, it is said, cannot enter into the merits of Raphael, but he admires ‘the spirit and fire of Tintoret.’ I do not wonder at this bias. A sentiment, probably, never dawned upon his Grace’s mind; but he may be supposed to relish the dashing execution andhit or missmanner of the Venetian artist. Oh, Raphael! well is it that it was one who did not understand thee that blundered upon the destruction of humanity!
68. Hazlitt refers to whatThe Examinercalls the ‘regal raree-show’ in the Parks at the beginning of August 1814. A sham fight on the Serpentine was one of the features.
68. Hazlitt refers to whatThe Examinercalls the ‘regal raree-show’ in the Parks at the beginning of August 1814. A sham fight on the Serpentine was one of the features.
69.Paradise Lost,III.550.
69.Paradise Lost,III.550.
70. Wordsworth himself says (Hart-Leap Well) ‘The moving accident is not my trade.’
70. Wordsworth himself says (Hart-Leap Well) ‘The moving accident is not my trade.’
71.Lycidas, 161.
71.Lycidas, 161.
72. Wordsworth’s Ode,Intimations of Immortality, 206–7.
72. Wordsworth’s Ode,Intimations of Immortality, 206–7.
73. Seeante, note to p. 48.
73. Seeante, note to p. 48.
74. This opening paragraph is certainly very like Hazlitt. Cf. the review by anticipation of Coleridge’sLay SermoninPolitical Essays, vol.III.pp. 138–142.
74. This opening paragraph is certainly very like Hazlitt. Cf. the review by anticipation of Coleridge’sLay SermoninPolitical Essays, vol.III.pp. 138–142.
75. Query, a misprint for ‘delicacy.’
75. Query, a misprint for ‘delicacy.’
76. Ben Jonson’sUnderwoods,XXX., ‘An Epistle to Sir Edward Sackville. A favourite quotation of Hazlitt’s.
76. Ben Jonson’sUnderwoods,XXX., ‘An Epistle to Sir Edward Sackville. A favourite quotation of Hazlitt’s.
77.The Faerie Queene, III.VII.7.
77.The Faerie Queene, III.VII.7.
78. Haydon.
78. Haydon.
79.Hamlet, ActIII.Sc. 2.
79.Hamlet, ActIII.Sc. 2.
80. Leigh Hunt,The Story of Rimini,III.32.
80. Leigh Hunt,The Story of Rimini,III.32.
81. See vol.I.p. 218–221.
81. See vol.I.p. 218–221.
82. Acts xix. 28.
82. Acts xix. 28.
83. To the line ‘And to the ragged infant threaten war,’ Hazlitt appends the footnote, ‘This is a pleasing line; because the unconsciousness to the mischief in the child is a playful relief to the mind, and the picturesqueness of the imagery gives it double point andnaiveté.’
83. To the line ‘And to the ragged infant threaten war,’ Hazlitt appends the footnote, ‘This is a pleasing line; because the unconsciousness to the mischief in the child is a playful relief to the mind, and the picturesqueness of the imagery gives it double point andnaiveté.’
84. To the line ‘See them beneath the dog-stars raging heat,’ Hazlitt has a footnote: ‘This seems almost a parody on the lines in Shakespeare. “Not all these, laid in bed majestical,” etc. [Henry V., ActIV.Sc. 1, ll. 284–297.] Who shall decide where two such authorities disagree!’
84. To the line ‘See them beneath the dog-stars raging heat,’ Hazlitt has a footnote: ‘This seems almost a parody on the lines in Shakespeare. “Not all these, laid in bed majestical,” etc. [Henry V., ActIV.Sc. 1, ll. 284–297.] Who shall decide where two such authorities disagree!’
85.1 Henry IV., ActIII.Sc. 1.
85.1 Henry IV., ActIII.Sc. 1.
86. To the line ‘Or wipes the tear that stagnates in his eyes,’ Hazlitt adds a footnote: ‘And the motion unsettles a tear.—Wordsworth.’ [The Convict, (Lyrical Ballads) l. 42.]
86. To the line ‘Or wipes the tear that stagnates in his eyes,’ Hazlitt adds a footnote: ‘And the motion unsettles a tear.—Wordsworth.’ [The Convict, (Lyrical Ballads) l. 42.]
87.The Parish Register,I.107–10.
87.The Parish Register,I.107–10.
88.Ibid.I.230–1.
88.Ibid.I.230–1.
89.The Parish Register,I.301–4.
89.The Parish Register,I.301–4.
90.A Midsummer Night’s Dream, ActIV.Sc. 1.
90.A Midsummer Night’s Dream, ActIV.Sc. 1.
91.The Parish Register,I.454–7.
91.The Parish Register,I.454–7.
92.Ibid.II.319–20.
92.Ibid.II.319–20.
93. Dryden, Prologue toThe Tempest, 20.
93. Dryden, Prologue toThe Tempest, 20.
TRANSCRIBER’S NOTESSilently corrected obvious typographical errors and variations in spelling.Retained archaic, non-standard, and uncertain spellings as printed.
TRANSCRIBER’S NOTES
TRANSCRIBER’S NOTES
TRANSCRIBER’S NOTES
TRANSCRIBER’S NOTES