PAGE

191. In act and complement [compliment] extern. Othello, 1. 1.

Description of a madhouse. In The Honest Whore, Part I. Act v. 2.

A Mad World, my Masters. The title of one of Middleton's comedies,
1608.

Like birdlime, brains and all. Othello, 11. 1.

'My invention

Comes from my pate as birdlime does from frize;

It plucks out brains and all.'

192. But Pan is a God. Lyly's Midas, Act iv. 1.

Materiam superabat opus. Ovid, Met., 11. 5.

II. ON LYLY, MARLOW, ETC.

It is not possible to give references to thoroughly satisfactory texts of the
Elizabethan dramatists for the simple reason that, unfortunately, few exist. For
reading purposes the volumes of select plays in The Mermaid Series' and a few
single plays in 'The Temple Dramatists' may be mentioned.

PAGE

192. The rich strond. The Faerie Queene, III. iv. 20, 34.

193. Rich as the oozy bottom.
Majestic though in ruin.
The Cave of Mammon.

New-born gauds, etc.

King Henry V., 1. 2. ['sunken wreck.']
Paradise Lost, 11. 300.

The Faerie Queene, 11. vii. 29.
Troilus and Cressida, 111. 3.

Ferrex and Porrex. By Thomas Norton (1532-1584), and Thomas Sackville,
Lord Buckhurst (1536-1608). Acted Jan. 18, 1561-2.

194. No figures nor no fantasies. Julius Caesar, 11. 1.

195. Sir Philip Sidney says. In his Apologie for Poetrie.

.

196. Mr. Pope . says. See Spence, Letter to the Earl of Middlesex, prefixed to
Dodsley's edition of Gorboduc.

His Muse. Thomas Sackville wrote the Induction (1563).

John Lyly. The Euphuist (c. 1554-1606), a native of the Kentish Weald.
Midas (1592), Endymion (1591), Alexander and Campaspe (1584), Mother
Bombie (1594).

198. Poor, unfledged. Cymbeline, 111. 3.

Very [most] tolerable. Much Ado about Nothing, 111. 3.

Grating their lean and flashy jests. Lycidas, 123-4.

'their lean and flashy songs

Grate on their scrannel pipes of wretched straw.'

Bobadil. Captain Bobadil, in Every Man in his Humour.
199. The very reeds bow down.

Act IV. 2.

Out of my weakness. Hamlet, 11. 2.

It is silly sooth. Twelfth Night, 11. 4.

201. Did first reduce. Elegy to Henry Reynolds, Esquire, 91 et seq.

Euphues and his England. Euphues: The Anatomy of Wit, appeared in 1579
and Euphues and his England the year following. They may be read in
Arber's reprint.

Pan and Apollo. Midas, Iv. 1.

202. Note.

Marlowe died in 1593.

Deptford.

He was stabbed in a tavern quarrel at

Life and Death of Doctor Faustus. Printed 1604, 1616. See the editions of

VOL. V.: 2 C

401

PAGE

Dr. A. W. Ward and Mr. Israel Gollancz. The latter is a 'contamination' of the two texts.

202. Fate and metaphysical aid. Macbeth, 1. 5.

203. With uneasy steps.

Paradise Lost, 1. 295.

Such footing [resting.] Paradise Lost, 1. 237-8.

How am I glutted. Life and Death of Doctor Faustus, Scene 1. [public schools with silk.]

205. What is great Mephostophilis. Scene III.

My heart is harden'd. Scene vi.

Was this the face? Scene XVII.
Scene XIX.

206. Oh, Faustus.

Yet, for he was a scholar.

207. Oh, gentlemen? Scene xix. Snails! what hast got there.

And the next quotation. Scene xx.

Cf. Scene VIII.

'Come, what dost thou with that same book?

Thou can'st not read.'

As Mr. Lamb says. Lamb's Specimens of English Dramatic Poets, ed.
Gollancz, Vol. 1. p. 43. (Published originally in 1808).

Lust's Dominion. Published 1657. The view now seems to be that Dekker
had a hand in it: in the form in which we have it it cannot be Marlowe's.
See also W. C. Hazlitt's Manual of Old Plays, 1892.

Pue-fellow [pew-fellow.] Richard III, 1v. 4.

The argument of Schlegel. Cf. Lectures on Dramatic Art and Literature (Bohn, 1846), pp. 442-4.

208. What, do none rise? Act v. 1.

Marlowe's mighty line. The phrase is Ben Jonson's, in his lines 'To the Memory of my Beloved Master William Shakespeare, and what he hath left us,' originally prefixed to the First Folio of Shakespeare, 1623.

I know he is not dead. Lust's Dominion, 1. 3.

Hang both your greedy ears, and the next quotation. Ibid. Act 11. 2.
Tyrants swim safest. Act v. 3.

209. Oh! I grow dull.

And none of you.

Now by the proud

But I that am.

These dignities.

Act III. 2.

King John, v. 7.

complexion. Lust's Dominion, Act ш. 4.

Antony and Cleopatra, 1. 5.

Lust's Dominion, Act v. 5.

Now tragedy. Act v. 6.

Spaniard or Moor.

Act v. I.

And hang a calve's [calf's] skin. King John, 11. I.

The rich few of Malta. The Jew of Malta, acted 1588.

209. Note Falstaff. Cf. 'minions of the moon,' 1 King Henry IV., 1. 2.

210. The relation. Act 1. 3.

As the morning lark. Act 11. 1.

In spite of these swine-eating Christians.

Act 11. 3.

One of Shylock's speeches. Merchant of Venice, Act 1. 3.

211. Edward II. 1594.

Weep'st thou already? Act v. 5.

The King and Gaveston. Cf. Act 1. 1.

The lion and the forest deer. Act v. 1.
The Song. See p. 298 and note.

212. A Woman killed with Kindness. 1603.

Oh, speak no more.

Act 11. 3.

Paradise Lost, v. 157.

Fair, and of all beloved. Act 11. 3.
The affecting remonstrance.

Act v. 5.

The Stranger. Benjamin Thompson's (1776 ?-1816) translation of Kotzebue's (1761-1819) Menschenhass und Reue.

Sir Giles Over-reach. In Massinger's A New Way to Pay Old Debts.

214. This is no world in which to pity men. A Woman killed with Kindness, Act 111. 3 (ed. Dr. Ward).

His own account. See his address 'To the Reader' in The English Traveller, printed 1633.

The Royal King and Loyal Subject. 1637.

A Challenge for Beauty. 1636.
Shipwreck by Drink. Act II. 1.

Fair Quarrel. 1617.

A Woman never Vexed. 1632.
Women beware Women.

1657.

215. She holds the mother in suspense. Act 11. 2.

Did not the Duke look up? Act 1. 3.

216. How near am I. Act II. 1.

218. The Witch. No date can be given for this play.

The moon's a gallant. Act 11. 3. ['If we have not mortality after 't'] ['leave me to walk here.']

220. What death is't you desire? Act v. 2.

222. Mr. Lamb's Observations. The same extract from the Specimens is quoted in Characters of Shakespear's Plays, vol. 1. p. 194 [cannot co-exist with mirth.]

III. ON MARSTON, CHAPMAN, ETC.

223. Blown stifling back.

Paradise Lost, XI. 313.

224. Monsieur Kinsayder. This was the nom-de-plume under which John Marston published his Scourge of Villanie, 1598.

Oh ancient Knights. Sir John Harington's translation of Orlando Furioso was published in 1591.

Antonio and Mellida. 1602.

225. Half a page of Italian rhymes. Part I. Act IV.

Each man takes hence life. Part I. Act I,

225. What you Will. 1607.

Who still slept. Act II. 1.

Parasitaster and Malcontent. Parasitaster; or The Fawn, 1606. The Malcontent, 1604.

226. Is nothing, if not critical. Othello, 11. 1.

We would be private. The Fawn, Act 11. 1.

Faunus, this Granuffo. Act 111.

227. Though he was no duke.

Moliere has built a play.

Full of wise saws.

As

Act. 1.

L'Ecole des Maris.

You Like It, Act 11. 7.

228. Nymphadoro's reasons. The Fawn, Act ш.

Hercules's description. Act 11. I.

Like a wild goose fly. As You Like It, 11. 7.

230. Bussy d'Ambois. 1607.

PAGE

230. The way of women's will.

"It is not virtue, wisdom, valour, wit,

Strength, comeliness of shape, or amplest merit,
That woman's love can win, or long inherit,

But what it is hard is to say,

Harder to hit. . . .'

Samson Agonistes, 1010 et seq.

Hide nothing. Paradise Lost, 1. 27. 231. Fulke Greville. Lord Brooke (1554-1628). Alaham and Mustapha were published in the folio edition of Brooke, 1633. He was the school friend, and wrote the Life, of Sir Philip Sidney. His self-composed epitaph reads, 'Fulke Grevill, servant to Queene Elizabeth, conceller to King James, frend to Sir Philip Sidney.' See Hazlitt's Essay Of Persons one would wish to have seen.'

Sparkish. In Wycherley's Country Wife (1675).

Witwoud and Petulant. In Congreve's The Way of the World (1700).

234. May-Day. 1611.

All Fools. 1605.

The Widow's Tears.

1612.

Eastward Hoe. 1605. Ben Jonson accompanied his two friends to prison

for this voluntarily.

On his release from prison.

Express ye unblam'd.

Appius and Virginia.

Their imprisonment was of short duration.

See Drummond's Conversations, XIII.

Paradise Lost, 111. 3.

Printed 1654.

The affecting speech. I.e. that of Virginius to Virginia, Act iv. 1.
Wonder of a Kingdom. Published 1636.

Jacomo Gentili. In the above play.

Old Fortunatus. 1600.

235. Vittoria Corombona. The White Devil, 1612.

Signior Orlando Friscobaldo. In The Honest Whore, Part II., 1630.

The red-leaved tables. Heywood's A Woman Killed with Kindness, Act 11. 3.

The pangs. Wordsworth's Excursion, vi. 554.

The Honest Whore. In two Parts, 1604 and 1630.
Signior Friscobaldo. The Second Part, Act 1. 2.
237. You'll forgive me. The Second Part, Act II. 1.
It is my father. The Second Part, Act iv. 1.
Oh! who can paint.

238. Tough senior. Love's Labour's Lost, Act 1. 2.

And she has felt them knowingly. Cymbeline, 111. 3.
I cannot. The Honest Whore, Second Part, Act Iv. 1.

239. The manner too. The Second Part, Act II. 1.

I'm well. The First Part, Act 1. 3 ['midst of feasting '].

Turns them. 11. Henry IV, 1. 2.

Patient Grizzel. Griselda in Chaucer's Clerke's Tale. Dekker collaborated

in a play entitled The Pleasant Comedy of Patient Grissill (1603).

The high-flying. The Honest Whore, Second Part, Act 11. 1. etc.

240. White Devil. 1612.

Duchess of Malfy. 1623.

By which they lose some colour. Cf. Othello, 1. 1. 'As it may lose some colour.'

241. All fire and air. Henry V., III. 7, he is pure air and fire,' and Antony and Cleopatra, v. 2, 'I am fire and air.'

Like the female dove. Hamlet, v. 1, As patient as the female dove, when that her golden couplets are disclosed.'

The trial scene and the two following quotations, The White Devil. Act ш. 1. 243. Your hand I'll kiss. Act II. I.

The lamentation of Cornelia. Act v. 2.

The parting scene of Brachiano. Act v. 3.

245. The scenes of the madhouse. Act IV. 2. The interview. Act IV. I.

I prythee, and the three following quotations and note on p. 246. The Duchess of Malfy, Act Iv. 2.

246. The Revenger's Tragedy. 1607.

The dazzling fence. Cf. the dazzling fence' of rhetoric, Comus, 790-91.
The appeals of Castiga. Act II. I., and Act iv. 4.

247. Mrs. Siddons has left the stage. Mrs. Siddons left the stage in June 1819. See The Round Table, vol. 1., Note to p. 156.

On Salisbury-plain. At Winterslow Hut.
vol. I. p. 259.

Stern good-night. Macbeth, Act 11. 2.
stern'st good night.'

Take mine ease. 1 Henry IV. 111. 3.
Cibber's manager's coat.

See Memoirs of W. Hazlitt. 1867,

"The fatal bellman which gives the

manager. See the Apology for his Life (1740). Colley Cibber (1671-1757), actor, dramatist, and Books, dreams. Personal Talk. [Dreams, books, are each a world shall be named pre-eminently dear by heavenly lays

...

Two

IV. ON BEAUMONT AND FLETCHER, ETC.

249. Misuse [praise] the bounteous Pan. Comus, 176-7.
Like eagles newly baited. Cf.

'All plumed like estridges that with the wind
Baited like eagles having lately bathed.'

250. Cast the diseases of the mind. Cf.

1 King Henry IV., IV. I.

...

'Canst thou not minister to a mind diseased
The water of my land, find her disease,
And purge it to a sound and pristine health?'

Wonder-wounded. Hamlet, v. 1.

cast

Macbeth, v. 3.

Wanton poets. Cf. Marlowe's Edward II., Act 1. 1., and Beaumont and

Fletcher's The Maid's Tragedy, II. 2.

251. The Maid's Tragedy. Acted 1609-10, printed 1619.

252. Do not mock me.

Act IV. I.

King and No King. Licensed 1611, printed 1619.
When he meets with Panthea. Act II. 1.

253. The False One. 1619.

Youth that opens. Act II. 2.

Like ['I should imagine'] some celestial sweetness.

Act 11. 3.

'Tis here, and the next quotation. Act II. 1. [Egyptians, dare ye think.']

254. The Faithful Shepherdess. Acted 1610.

A perpetual feast. Comus, 479-80.

405