ovator in English poetry as well as for his
knightly prowess.

_who prized black eyes_. "Sessions of the Poets," verse 20.

_Like strength reposing_. "'Tis might half slumb'ring on its own right
arm." Keats's "Sleep and Poetry," 237.

P. 17. _they heard the tumult_. "I behold the tumult and am still."
Cowper's "Task," IV, 99.

_descriptions of hunting and other athletic games_. See "Midsummer Night's
Dream," iv, 1, 107 ff., and "Two Noble Kinsmen," iii.

_An ingenious and agreeable writer_. Nathan Drake (1766-1836), author of
"Shakespeare and his Times" (1817). In describing the life of the country
squire Drake remarks: "The luxury of eating and of good cooking were well
understood in the days of Elizabeth, and the table of the country-squire
frequently groaned beneath the burden of its dishes; at Christmas and at
Easter especially, the hall became the scene of great festivity." Chap. V.
(ed. 1838, p. 37).

_Return from Parnassus_. Hazlitt gives an account of this play in the
"Literature of the Age of Elizabeth," Lecture V.

P. 18. _it snowed_. "Canterbury Tales," Prologue, 345.

_as Mr. Lamb observes_, in a note to Marston's "What You Will" in the
"Specimens of Dramatic Literature" (ed. Lucas, 1, 44): "The blank
uniformity to which all professional distinctions in apparel have been
long hastening, is one instance of the decay of Symbols among us, which,
whether it has contributed or not to make us a more intellectual, has
certainly made us a less imaginative people." Cf. Schlegel's remark in the
first note.

_in act_. "Othello," i, I, 62.

_description of a mad-house_. "Honest Whore," Part 1, v. 2.

_A Mad World, My Masters_, the title of a comedy by Middleton.

P. 19. _Music and painting are not our forte._ Cf. Hazlitt's review of the
"Life of Reynolds" (X, 186-87): "Were our ancestors insensible to the
charms of nature, to the music of thought, to deeds of virtue or heroic
enterprise? No. But they saw them in their mind's eye: they felt them at
their heart's core, and there only. They did not translate their
perceptions into the language of sense: they did not embody them in
visible images, but in breathing words. They were more taken up with what
an object suggested to combine with the infinite stores of fancy or trains
of feeling, than with the single object itself; more intent upon the moral
inference, the tendency and the result, than the appearance of things,
however imposing or expressive, at any