appeared in various Elizabethan collections, such as the "Tragical Tales" translated by George Turberville in 1587. The first complete translation was published in 1620 and reprinted in the Tudor Translations in 1909. Petrarch (1304-1374), Italian humanist and poet, whose sonnets were widely imitated by French and Italian poets during the Renais sance. Dante (1265-1321). The author of the "Divine Comedy" was not very well known to Elizabethan readers. There was no English translation of his poem attempted till that of Rogers in 1782, and no version worthy of the name was produced till H. F. Cary's in 1814. Aretine. The name of Pietro Aretino (1492-1556), an Italian satirist who called himself "the scourge of princes," was well known in England, but there was no translation of his works. Machiavel. Nicolo Machiavelli (1468-1527), a Florentine statesman, whose name had an odious association because of the supposedly diabolical policy of government set forth in his "Prince." But this work was not translated till 1640. His “Art of War" had been rendered into English in 1560 and his "Florentine History" in 1595. Castiglione, Baldassare (1478-1529). "Il Cortegiano," setting forth the idea of a gentleman, was translated as "The Courtier" by Thomas Hoby in 1561 and was very influential in English life. Ronsard, Pierre de (1524-1585), the chief French lyric poet of the sixteenth century, whose sonnets had considerable vogue in England. Du Bartas, Guillaume de Saluste (1544-1590), author of "La Semaine, ou la Création du Monde" (1578), "La Seconde Semaine " (1584), translated as the “Divine Weeks and Works” (1592 ff.) by Joshua Sylvester. P. 13. Fortunate fields. “Paradise Lost," III, 568. Prospero's Enchanted Island. Eden's "History of Travayle," 1577, is now given as the probable source of Setebos, etc. Right well I wote. "Faërie Queene," II, Introduction, 1-3. P. 14. Lear is founded. Shakespeare's actual sources were probably Geoffrey of Monmouth's "History of the Kings of Britain" (c. 1130) and Holinshed's "Chronicle." Othello on an Italian novel, from the "Hecatommithi" of Giraldi Cinthio (1565). Hamlet on a Danish, Macbeth on a Scottish tradition. The story of Hamlet is first found in Saxo Grammaticus, a Danish chronicler of the tenth century. Shakespeare probably drew it from the "His toires Tragiques" of Belleforest. "Macbeth" was based on Holinshed's "Chronicle of Scottish History." P. 15. those bodiless creations. “Hamlet,” iii, 4, 138. Your face." Macbeth," ì, 5, 63 Tyrrell and Forrest, persons hired by Richard III to murder the young princes in the Tower. See Richard III," iv, 2-3 thick and slab. “Macbeth,” iv, 1, 32. snatched a [wild and] fearful joy. Gray's “Ode on a Distant Prospect of Eton College." P. 16. Fletcher the poet. John Fletcher the dramatist died of the plague in 1625. The course of true love. "Midsummer Night's Dream,” i, 1. 34 The age of chivalry was not then quite gone. Cf. Burke: "Reflections on the French Revolution" (ed. Bohn, II, 348): “But the age of chivalry is gone. That of sophisters, economists, and calculators, has succeeded; and the glory of Europe is extinguished forever." fell a martyr. Sir Philip Sidney (1554-1586), poet, soldier, and statesman, received his mortal wound in the thigh at the battle of Zutphen because, in emulation of Sir William Pelham, he threw off his greaves before entering the fight. the gentle Surrey. Henry Howard. Earl of Surrey (15182-1547), was distinguished as an innovator in English poetry as well as for his knightly prowess. who prized black eyes. Like strength reposing. "Sessions of the Poets," verse 20. "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, 90 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, I, 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, 1, 62. description of a mad-house. "Honest Whore," Part I, 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 given moment of time. . . . We should say that the eye in warmer climates drinks in greater pleasure from external sights, is more open and porous to them, as the ear is to sounds; that the sense of immediate delight is fixed deeper in the beauty of the object; that the greater life and animation of character gives a greater spirit and intensity of expression to the face, making finer subjects for history and portrait; and that the circumstances in which a people are placed in a genial atmosphere, are more favourable to the study of nature and of the human form." like birdlime. “Othello,” ii, 1, 126. P. 20. Materiam superabat opus. Ovid's "Metamorp!.oses," II, 5. Pan is a God. Lyly's “Midas," iv, 1. SPENSER This is the latter half of the lecture on Chaucer and Spenser from the English Poets." P. 21. Spenser flourished, etc. Edmund Spenser (1552?-1599), served as secretary to Sir Henry Sidney in Ireland in 1577, and went again in 1580 as secretary to Lord Grey of Wilton, the Queen's new deputy to Ireland. He was driven out by a revolt of the Irish in EXON "A View of the State of Ireland, written dialogue-wise between Eudoxus and Irenæus... in 1500" was first printed in 1033 description of the bog of Allan. “Faerie Queene.” II. ix, 10. Preatment he received from Burleigh. Hazlitt refers to tirs treatment specifically in the essay "On Respectable People" X. 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