When the name of the Play is not given it is to be understood that the reference is to the Play under discussion. Differences between the text quoted by Hazlitt and the text of the Globe Shakespeare which seem worth pointing out are indicated in square brackets.
PAGE [179]. Dr. Johnson is of opinion. Dr. Johnson’s Preface, p. 73. [180]. Cibber, in speaking of the early English stage. Apology for the Life of Mr. Colley Cibber (1740), vol. i. chap. iv. [181]. My lord, Act I. 6. What cheer, Act III. 4. The six following quotations in the text are in the same scene. [182]. My dear lord, Act III. 6. And when with wild wood-leaves and with fairest flowers, Act IV. 2. [183]. Cytherea, how bravely, Act II. 2. Me of my lawful pleasure, Act II. 5. Whose love-suit, Act III. 4. the ancient critic, Aristophanes of Byzantium. [184]. Out of your proof, Act III. 3. [185]. The game’s a-foot [is up], Act III. 3. under the shade. As You Like It, Act II. 7. See, boys! Act III. 3. Nay, Cadwell, Act IV. 2. [186]. Stick to your journal course, Act IV. 2. creatures and Your Highness, Act I. 5.
MACBETH
[186]. The poet’s eye. A Midsummer Night’s Dream, Act V. 1. your only tragedy-maker. It would be better to italicise only ‘tragedy’; the reference is probably to Hamlet, III. 2, ‘your only jig-maker.’ the air [heaven’s breath] smells wooingly and the temple-haunting martlet builds [does approve by his loved mansionry], Act I. 6. [187]. the blasted heath, Act I. 3. air-drawn dagger, Act III. 4. gracious Duncan, Act III. 1. blood-boultered Banquo, Act IV. 1. What are these, Act I. 3. bends up, Act I. 7. The deed [The attempt and not the deed confounds us], Act II. 2. preter [super] natural solicitings, Act I. 3. [188]. Bring forth and screw his courage, Act I. 7. lost so poorly and a little water, Act II. 2. the sides of his intent, Act I. 7. for their future days and his fatal entrance, Act I. 5. Come all you spirits, Act I. 5. [189]. Duncan comes there, Act I. 5. The two following quotations in the text are in the same scene. Mrs. Siddons. Sarah Siddons (1755–1831). It was as Lady Macbeth that Mrs. Siddons made her ‘last’ appearance on the stage, June 29, 1812. She returned occasionally, and Hazlitt saw her act the part at Covent Garden, June 7, 1817. See note to p. 156, and also Hazlitt’s A View of the English Stage. [190]. There is no art, Act I. 4. How goes the night, Act II. 1. Light thickens, Act III. 2–3. [191]. So fair and foul, Act I. 3. Such welcome and unwelcome news together [things at once] and Men’s lives, Act IV. 3. Look like the innocent flower, Act I. 5. To him and all [all and him], Avaunt, and himself again, Act III. 4. he may sleep, Act IV. 1. Then be thou jocund, Act III. 2. Had he not resembled, Act II. 2. they should be women, and in deeper consequence, Act I. 3. [192]. Why stands Macbeth, Act IV. 1. the milk of human kindness, Act I. 5. himself alone. The Third Part of King Henry VI., Act V. 6. For Banquo’s issue, Act III. 1.
JULIUS CÆSAR
[195]. the celebrated Earl of Hallifax. Charles Montague, Earl of Halifax (1661–1715), poet and statesman. King and no King, licensed 1611, printed 1619; Secret Love, or, the Maiden Queen, first acted 1667, printed the following year. Thou art a cobler [but with awl. I] and Wherefore rejoice, Act I. 1. [196]. once upon a raw and The games are done, Act I. 2. [197]. And for Mark Antony, and O, name him not, Act II. 1. [198]. This disturbed sky, Act I. 3. All the conspirators, Act V. 5. How ‘scaped I killing, Act IV. 3. You are my true, Act II. 1. [199]. They are all welcome and It is no matter, Act II. 1.
OTHELLO
[200]. tragedy purifies the affections by terror and pity, Aristotle’s Poetics. It comes directly home, Dedication to Bacon’s Essays. The picturesque contrasts. The germ of this paragraph may be found in The Examiner (The Round Table, No. 38), May 12th, 1816. The paper there indexed as Shakespeare’s exact discrimination of nearly similar characters was used in the preparation of Othello, Henry IV. and Henry VI. in the Characters of Shakespear’s Plays. [202]. flows on to the Propontic, Act III. 3. the spells, Act I. 3. What! Michael Cassio? and If she be false, Act III. 3. [203]. Look where he comes, Act III. 3. The four following quotations in the text and footnote are in the same scene.
[I found not Cassio’s kisses
... thy hollow cell.]