whose writings have left a deep impression on the
political and educational systems of the nineteenth. His other important
works are "The Social Contract" and "Emile" (1762) and the "Confessions"
(1782). Hazlitt has a "Character of Rousseau" in the "Round Table" (see
p. xliv, n.).

_scattered like stray-gifts_. Wordsworth's "Stray Pleasures."

_Sir Fopling Flutter_, in Sir George Etherege's comedy "The Man of Mode"
(1676).

P. 339, n. _a friend_. Charles Lamb.

P. 340. _leurre de dupe_, a decoy. The expression occurs in the fourth
book of Rousseau's "Confessions."

_a load to sink a navy_. "Henry VIII," iii, 2, 383.

_Marcian Calonna is a dainty book._ Lamb's "Sonnet to the Author of Poems
Published under the Name of Barry Cornwall."

P. 341. _Keats_. Hazlitt shared the popular conception of Keats as an
effeminate poet. He concludes the essay "On Effeminacy of Character" in
"Table Talk" with a reference to Keats: "I cannot help thinking that the
fault of Mr. Keats's poems was a deficiency in masculine energy of style.
He had beauty, tenderness, delicacy, in an uncommon degree, but there was
a want of strength and substance. His Endymion is a very delightful
description of the illusions of a youthful imagination, given up to airy
dreams--we have flowers, clouds, rainbows, moonlight, all sweet sounds and
smells, and Oreads and Dryads flitting by--but there is nothing tangible
in it, nothing marked or palpable--we have none of the hardy spirit or
rigid forms of antiquity. He painted his own thoughts and character; and
did not transport himself into the fabulous and heroic ages. There is a
want of action, of character, and so far, of imagination, but there is
exquisite fancy. All is soft and fleshy, without bone or muscle. We see in
him the youth, without the manhood of poetry. His genius breathed 'vernal
delight and joy.'--'Like Maia's son he stood and shook his plumes,' with
fragrance filled. His mind was redolent of spring. He had not the
fierceness of summer, nor the richness of autumn, and winter he seemed not
to have known, till he felt the icy hand of death!" Again in the
introduction to the "Select British Poets" (Works, V, 378), he says that
Keats "gave the greatest promise of genius of any poet of his day. He
displayed extreme tenderness, beauty, originality, and delicacy of fancy;
all he wanted was manly strength and fortitude to reject the temptations
of singularity in sentiment and expression. Some of h