less than smallest dwarfs. “Paradise Lost,” I, 779.
desiring this man’s art. Shakespeare’s Sonnets, XXIX.
in shape and gesture. “Paradise Lost,” I, 590.
Mr. Wordsworth says. See Sonnet entitled “London, 1802.”
[P. 4.] drew after him. “Paradise Lost,” II, 692.
Otway, Thomas (1652-1685), author of “Venice Preserved,” the most popular post-Shakespearian tragedy of the English stage. Hazlitt notes in this play a “power of rivetting breathless attention, and stirring the deepest yearnings of affection.... The awful suspense of the situations, the conflict of duties and passions, the intimate bonds that unite the characters together, and that are violently rent asunder like the parting of soul and body, the solemn march of the tragical events to the fatal catastrophe that winds up and closes over all, give to this production of Otway’s Muse a charm and power that bind it like a spell on the public mind, and have made it a proud and inseparable adjunct of the English stage.” Works, V, 354-5.
Jonson’s learned sock. Milton’s “L’Allegro.”
[P. 6.] The translation of the Bible. The first important 16th century translation of the Bible is William Tyndale’s version of the New Testament (1525) and of the Pentateuch (1530). The complete translations are those of Miles Coverdale (1535), the Great Bible (1539), the Geneva or Breeches Bible (1557), the Bishop’s Bible (1568), and the Rheims-Douay Bible—the New Testament (1582) and the Old Testament (1609-1610). Finally came the Authorized Version in 1611.
[P. 8.] penetrable stuff. “Hamlet,” iii, 4, 36.
his washing, etc. St. John, xiii.