Three papers appeared in The Examiner for April 6, April 13, and April 20, 1817, under the heading of ‘Sketches of the History of the Good Old Times before the French Revolution, when Kings and Priests did what they pleased, by the grace of God.’ In these essays a French anti-Bourbon book, the title of which is not given, is made the text for a most unflattering review of the characters of a number of kings, from Hugh Capet to Louis XVI. The subject would naturally attract Hazlitt, and indeed it may be said that the essays are almost certainly his. As, however, the internal evidence, though very strong, does not prove his authorship to be absolutely certain, it has been thought better not to include the essays in the present edition.
MISS O’NEILL’S WIDOW CHEERLY
This and the five succeeding theatrical papers from The Examiner of 1817 have been inserted in the text because the internal evidence seems to leave no room for doubt that they were written by Hazlitt. It is clear from A View of the English Stage that he was writing theatrical notices for The Examiner during the whole of the period in question (Jan.–May, 1817).
[297]. The best actress ... with one great exception, etc. For this comparison of Miss O’Neill with Mrs. Siddons, cf. vol. VIII. p. 198, and for Miss O’Neill’s failure in comedy, ibid. p. 291.
PENELOPE AND THE DANSOMANIE
[299]. ‘Like to see the unmerited fall,’ etc. Cf. Burke, Reflections on the Revolution in France (Select Works, ed. Payne, II. 164). [300]. The Gentleman who is understood, etc. William Ayrton (1777–1858), who was musical director at the King’s Theatre in 1817 and again in 1821. Of the Dansomanie, etc. A comparison of this passage with a reference to the ‘Dansomanie’ in vol. VIII. p. 437 is conclusive as to Hazlitt’s authorship of this notice. ‘Such were the joys,’ etc. Bickerstaffe, Love in a Village, Act II. Sc. 1. ‘Roll on,’ etc. Ossian, The Songs of Selma. The notice concludes with a long quotation from Colley Cibber, introduced by the following paragraph: ‘As the present season may be considered as a sort of revival of the Opera, the following particulars of its first introduction into this country may not be unacceptable to the reader. They are taken from Colley Cibber’s Memoirs of himself, p. 316.’
OROONOKO
This tragedy by Thomas Southerne (1660–1746) was produced in 1696. See post, note to p. 303 (on Imogine), for conclusive proof of Hazlitt’s authorship of this notice.
[301]. The success of his Richard II. This passage, though the conclusion drawn by Hazlitt is somewhat different, may be compared with his notice of Kean’s Richard II. (vol. VIII. p. 223). ‘The melting mood.’ Othello, Act V. Sc. 2. [302]. ‘The devil has not,’ etc. Cf. Macbeth, Act V. Sc 3. [303]. Imogine. In Maturin’s Bertram. Cf. the notice of that play in A View of the English Stage (vol. VIII. p. 307). In one of Hazlitt’s theatrical papers in The London Magazine (ibid. p. 391), he says of Miss Somerville’s (Mrs. Bunn’s) voice that ‘it resembles the deep murmur of a hive of bees in spring-tide, and the words drop like honey from her lips.’ ‘The music of her honey-vows.’ Cf. ‘That suck’d the honey of his music vows.’ Hamlet, Act III. Sc. 1. ‘He often has beguiled us,’ etc. Cf. Othello, Act I. Sc. 3. Gray, the poet, etc. See a letter to Horace Walpole, September, 1737 (Letters, ed. Tovey, i. 8).