d._ In a lecture delivered in February,
1818, three years after Hazlitt's remarks had appeared in the Edinburgh
Review, Coleridge spoke as follows: "You will take especial note of the
marvellous independence and true imaginative absence of all particular
space or time in the Faery Queene. It is in the domains neither of history
or geography; it is ignorant of all artificial boundary, all material
obstacles; it is truly in the land of Faery, that is, of mental space. The
poet has placed you in a dream, a charmed sleep, and you neither wish, nor
have the power, to inquire where you are, or how you got there." Works,
IV, 250.

P. 22. _clap on high_. "Faerie Queene," III, xii, 23.

_In green vine leaves_. I, iv, 22.

_Upon the top_. I, vii, 32.

P. 23. _In reading the Faerie Queene_, etc. See III, ix, 10; I, vii; II,
vi, 5; III, xii.

_and mask_. "L'Allegro."

_And more to lull_. I, i, 41.

_honey-heavy dew of slumber_. "Julius Caesar," ii, 1, 230.

_Eftsoons they heard_. II, xii, 70.

P. 25. _House of Pride_. I, iv, 4.

_Cave of Mammon_. II, vii, 28.

_Cave of Despair_. I, ix, 33.

_the account of Memory_. II, ix, 54.

_description of Belphoebe_. II, iii, 21.

_story of Florimel_. III, vii, 12.

_Gardens of Adonis_. III, vi, 29.

_Bower of Bliss_. II, xii, 42.

_Mask of Cupid_. III, xii.

_Colin Clout's Vision_. VI, x, 10-27.

P. 26. _Poussin_, Nicolas (1594-1665), French painter. See Hazlitt's
delightful essay in "Table Talk" "On a Landscape by Nicholas Poussin."

_And eke_. III, ix, 20.

_the cold icicles_. III, viii, 35.

_That was Arion_. IV, xi, 23-24.

_Procession of the Passions_. I, iv, 16 ff.

P. 28. _Yet not more sweet_. Southey's "Carmen Nuptiale: Lay of the
Laureate." In the "Character of Milton's Eve" in the "Round Table,"
Hazlitt remarks that Spenser "has an eye to the consequences, and steeps
everything in pleasure, often not of the purest kind."

P. 30. _Rubens_, Peter Paul (1577-1640), Flemish painter. See the paper on
"The Pictures at Oxford and Blenheim" (Works, IX, 71): "Rubens was the
only artist that could have embodied some of our countryman Spenser's
splendid and voluptuous allegories. If a painter among ourselves were to
attempt a Spenser Gallery, (perhaps the finest subject for the pencil in
the world after Heathen mythology and Scripture history), he ought to go
and study the principles of his design at Blenheim."

_the account of Satyrane_. I, vi, 24.

_by th