THE TEMPEST
[238]. Either for tragedy. Hamlet, Act II. 2. Hazlitt alters the words of Polonius to apply them to Shakespeare. a deed without a name. Macbeth, Act IV. 1. does his spiriting gently, Act I. 2. to airy nothing. A Midsummer Night’s Dream, Act V. 1. semblably. The Second Part of King Henry VI., Act V. 1. worthy of that name. Cf. Act III. 1. [239]. like the dyer’s hand. Sonnet CXI. ‘the liberty of wit’ ... ‘the law’ of the understanding. Cf. Hamlet, Act II. 2 [the law of writ and the liberty]. of the earth, earthy. St. John, iii. 31. always speaks in blank verse, Schlegel, p. 395. As wicked dew, Act I. 2. [240]. I’ll shew thee, Act II. 2. Be not afraid, Act III. 2. [241]. I drink the air, Act V. 1. I’ll put a girdle, A Midsummer Night’s Dream, Act II. 2. Your charm, Act V. 1. Come unto these yellow sands, Act I. 2. [242]. The cloud-capp’d towers, Act IV. 1. Ye elves of hills, Act V. 1. [243]. Shakespear has anticipated. The passage quoted is based on Florio’s translation of Montaigne. See Chapter XXX. Book 1. Of the Caniballes. Had I the plantation, Act II. 1.
THE MIDSUMMER NIGHT’S DREAM
See The Round Table, pp. 61–64.
[244]. This crew of patches, Act III. 2. He will roar, Act I. 2. The two following quotations in the text are in the same scene. I believe we must leave, Act III. 1. [245]. Write me a prologue, Act III. 1. with amiable cheeks and Monsieur Cobweb, Act IV. 1. Lord, what fools, Act III. 2. the human mortals, Act II. 1. gorgons and hydras. Paradise Lost, Book II. l. 628. regarded him rather as a metaphysician. Cf. ‘No man was ever yet a great poet, without being at the same time a profound philosopher.’ Coleridge’s Biographia Literaria, Chap. XV. [246]. Be kind, Act III. 1. Go, one of you, Act IV. 1. [247]. the most fearful wild-fowl, Act III. 1.
ROMEO AND JULIET
[248]. whatever is most intoxicating, Schlegel, p. 400. fancies [cowslips] wan. Lycidas, l. 147. [249]. We have heard it objected. By Curran. See post, p. 393. too unripe and crude. Cf. Lycidas, l. 3, ‘harsh and crude.’ the Stranger. Menschenhass und Reue, by A.F.F. von Kotzebue (1761–1819), adapted for the English stage under the title of The Stranger. See note to p. 155. gather grapes. St. Matthew, vii. 16. My bounty, Act II. 2. [250]. they fade by degrees, Wordsworth’s Ode, Intimations of Immortality from Recollections of early Childhood, V. [fade into the light]. that lies about us. Ibid. [251]. the purple light of love, Gray’s Progress of Poesy, l. 41. another morn risen on mid-day [mid-noon], Paradise Lost, V. 310–311. in utter nakedness, Wordsworth’s Ode (see above), V. I’ve seen the day, Act I. 5. At my poor house, Act I. 2. But he, Act I. 1. [252]. the white wonder, Act III. 3. What lady’s that, Act I. 5. But stronger Shakespear felt for man alone, Collins’s Epistle to Sir Thomas Hanmer. Thou know’st the mask, Act II. 2. [253]. calls [think] true love spoken [acted] and Gallop apace, Act III. 2. It was reserved, Schlegel, p. 400. [254]. Here comes the lady, Act II. 6. Ancient damnation, Act III. 5. frail thoughts. Lycidas, 153 [false surmise]. the flatteries, Act V. 1. What said my man, Act V. 3. If I may trust, Act V. 1 [flattering truth of sleep]. [255]. Shame come to Romeo and Blister’d be thy tongue, Act III. 2. [256]. father, mother, Act III. 2. Let me peruse, Act V. 3. [257]. as she would take [catch]. Antony and Cleopatra, Act V. 2. The Beauties of Shakespear. By Dr. Wm. Dodd (1729–1777), 1753.
LEAR
[258]. Be Kent unmannerly and Prescribe not, Act I. 1. [259]. This is the excellent foppery, Act I. 2. the dazzling fence of controversy. Cf. the ‘dazzling fence’ of rhetoric, Comus, 790–791. [260]. beat at the gate, he has made and Let me not stay, Act I. 4. How now, daughter. Ibid. [much o’ the savour]. [263]. O let me not be mad, Act I. 5.