[P. 56.] whose love-suit. iii, 4, 136.
the ancient critic. Aristophanes of Byzantium, who lived in the third century before the Christian era.
the principle of analogy. This point is enforced by Hazlitt in connection with “Lear,” “The Tempest,” “Midsummer Night’s Dream,” and “As You Like It.” Coleridge had previously remarked, “A unity of feeling and character pervades every drama of Shakespeare” (Works IV, 61), and Schlegel had written in the same manner concerning “Romeo and Juliet”: “The sweetest and the bitterest love and hatred, festive rejoicings and dark forebodings, tender embraces and sepulchral horrors, the fulness of life and self-annihilation, are here all brought close to each other; and yet these contrasts are so blended into a unity of impression, that the echo which the whole leaves behind in the mind resembles a single but endless sigh.” (ed. Bohn, p. 401).
[P. 57.] Out of your proof. iii, 3, 27.
[P. 58.] The game’s afoot. “The game is up,” iii, 3, 107.
Under the shade. “As You Like It,” ii, 7, 111.
[P. 59.] See, boys. “Stoop, boys,” iii, 3, 2.
Nay, Cadwell. iv, 2, 255.
Stick to your journal course. iv, 2, 10.
Your highness. i, 5, 23.