"dignitatis axis, tamquam 8pvós: saluti, si me amas, consule " :' 'Enough of oak,' as the ancients said when they grew tired of

acorns.

P. 167, l. 11. Caedimus, &c.

1. 30. synchysis. Cicero

Persius, Sat. 4, 42.

discusses the placing of words in Orator, c. 44 sqq.; σúyxvois is not found in this context, but is used in his letters, e. g. σúyxvoɩ litterularum, Att. vi. 9.

P. 168, 1. 1. The preposition in the end of the sentence.

See above,

p. xxvii, on the correction of this in the revised version of the Dramatic Essay.

1. 27. Ones, in the plural number.

See above, pp. 32, 33.

P. 169, 1. 8. Well-placing of words. See Dryden's remarks on Denham's famous couplet, vol. ii. p. 217, and for Mr. Waller, above, pp. 7, 14.

P. 170, 1. 21. Quem penes, &c. Hor. A. P. 72.

P. 171, 1. 10. Dixeris, &c.

1. 17. Et vultus, &c. 1. 23. curiosa felicitas. P. 172, 1. 24. Wit. poetical genius) see p. P. 173, 1. 4. clenches.

Ibid. 47.
Od. i. 19, 8.

Petronius, Satyr. c. 118.

For the definition of Wit (in the sense of 14, 1. 22, and note.

See p. 31, l. 10, and note.

1. 25. sting of an epigram. Cf. p. 14, l. 34.

P. 174, 1. 2. a famous Italian. The reference is not easy to verify. The conceits of the Italian pulpits are treated with great spirit in the Cannocchiale Aristotelico (the Aristotelian Prospect-Glass') by D. Emmanuele Tesauro (ed. 5, Torino, 1670). The purpose of this great work is to justify conceits out of Aristotle, but it does not recommend them indiscriminately, and the following passage on facetious sermons is substantially the same as Dryden's citation. It is in the chapter De' Concetti Predicabili; the context is invaluable for the history of style: ecco che alcuni, dimentichi del decoro, per dar gusto alla turba e fuggir fatica, incominciarono a buffonneggiar sopra i Pulpiti sacri, con mimiche rappresentationi e scede e motti scurrili, rinnovando la medesima corrottela deplorata dal Dante nel suo secolo di tutti i vitii fecondo. Con molto maggior discretezza dunque alcuni Ingegni Spagnuoli naturalmente arguti, e nelle Scolastiche Dottrine perspicacissimi, trovarono non è gran tempo questa novella maniera d'insegnar dilettando per mezzo di questi argomenti ingeniosi detti vulgamente Concetti Predicabili,' &c. Conceits were handled more severely by Matteo Pellegrini, Delle Acutezze, 1639, and by the Cardinal Sforza Pallavicino, Sopra l'Arte dello Stile, 1646.

1. 28. Fletcher's Don John; in The Chances. The play was amended by the Duke of Buckingham, and acted at the King's House in 1667. See Pepys, Feb. 5.

P. 175, 1. 21. Black Friars. Cf. Pepys, Oct. 16, 1668: The Queen of Arragon, an old Blackfriars' play, but an admirable one.'

1. 26. Apollo. See Jonson's Works for his Leges Convivales inscribed on the wall of his club-room at the Apollo.

1. 26. his sons. The 'tribe of Ben' included Herrick, Randolph, Cartwright, and many others whom he called his sons.

APOLOGY FOR HEROIC POETRY.

The State of Innocence is said by some authors to have been published in 1674, but I cannot find this edition. The book was entered at Stationers' Hall in 1674 (Masson's Life of Milton, vi. p. 710); it is recorded as a new book in the Catalogue for Hilary Term, 1676 (i. e. 167); the earliest copy in the British Museum is dated 1677. Mr. Gosse thinks there was a surreptitious issue of the Opera in 1676, without Epistle or Apology; 'many hundred copies of it being dispersed abroad without my knowledge or consent' (p. 178, l. 11). P. 178, l. 8. a Princess. Mary of Este, Duchess of York. Lee :

P. 179, l. 7. my friend.

'Something I would to your vast virtue raise,

But scorn to daub it with a fulsome praise.'

1. 31. A. P. 351: a favourite quotation, see Essay, p. 89. 1. 34. Longinus. Boileau's translation of Longinus appeared in 1674: 'Œuvres diverses du Sieur D ... avec le Traité du Sublime ou du Merveilleux dans le Discours.'

P. 180, 1. 24. says my author. Longinus, c. 33.

P. 181, 1. 6. Heroic Poetry . . . the greatest work of human nature. Rapin, La Comparaison d'Homère et de Virgile: De tous les ouvrages dont l'esprit de l'homme est capable, le Poëme Epique est sans doute le plus accompli: parce qu'il renferme les perfections de tous les autres.' So also in Reflexions sur la Poëtique en particulier. Dedication of the Aeneis, the opening sentence.

See

1. 24. the Italian commentators. Rapin, Reflexions sur la Poëtique en general: 'Victorius Madius, Robortellus, et après eux Castelvetro et Piccolomini furent les premiers qui firent connoistre dans l'Europe les regles de la Poëtique d'Aristote, que les Grecs apporterent en Italie après la prise de Constantinople: et ceux-cy furent suivis du Beni, de Minturno, de Vida, de Gallutio, et de plusieurs autres.'

1. 26. Rapin. The Reverend Father Réné Rapin (1621-1687);

his chief work in criticism is Réflexions sur la Poétique d'Aristote et sur les ouvrages des poëtes anciens et modernes, 1674. His Comparison of Plato and Aristotle, &c., was translated by J. Dancer, 1673, two years after it was published in France.

P. 181, 1. 25. Boileau (Nicolas, Sieur Despréaux, 1636–1711) was well appreciated in England. His first Satires were published in 1665-1667; one of them was translated by Butler. L'Art Poëtique appeared in 1674.

1. 30. to instruct and delight: as before, p. 36, l. 7, supra.

P. 182, 1. 5. the author of the Plain Dealer: Wycherley. The Plain Dealer was published in 1677.

P. 184, 1. 4. tropes and figures, discussed by Longinus, cc. 31, 32. 1. 6. Catachreses: see note on p. 31, l. c. 12.

1. 12. Nec retia, &c. Ecl. 5, 60.

1. 16. Nocte natat, &c. Georg. iii. 260.

1. 23. Cleopatra. Od. i. 37. 26.

1. 31. Graditurque. Aen. iii. 664.

1. 33. Cowley in the Davideis, Book III.

P. 185, 1. 5. eighth by mistake for seventh.

1. 7. Illa vel intactae, &c. Aen. vii. 808.

1. 14. Longinus quotes Herodotus, c. 38. Herodotus, vii. 225.
1. 34. si vis me flere, &c. Hor. A. P. 102.

P. 186, 1. 4. hyperbata; inversions of phrase, discussed by Longi

nus, c. 22.

P. 187, l. 14. Nam certe ex vivo, &c. animalis.

Lucretius, iv. 737; read

P. 188, l. 1. these four lines: in Act i. sc. 1 of the Opera.

1. 16. Mr. Cowley: Davideis, Book I. Nobis non licet esse tam disertis, &c., Martial, ix. 12.

P. 189, 1. 15. Martial tells you: a favourite quotation. Cf. Essay, p. 103, 1. 9, supra, and Rapin on Homer and Virgil.

1. 21. Sir Philip Sidney and the translator of Du Bartas. Compound epithets were in favour with Du Bartas, and Sir Philip Sidney was noted in his own time for following the example of the French poet; so in Hall's Satires, vi. 1:

'He knows the grace of that new elegance

Which sweet Philisides fetch'd of late from France,
That well beseem'd his high-styl❜d Arcady,

Tho' others mar it with much liberty,

In epithets to join two words in one.' &c.

Rapin censures Ronsard and Du Bartas for this, and it was a common point for caricature; the Poet in Desmarests' Les Visionnaires talks like Du Bartas:

'Je sors des antres noirs du Mont Parnassien,
Où le fils poil-doré du grand Saturnien

Dans l'esprit forge-vers plante le Dithyrambe,

L'Epode, l'Antistrophe, et le tragique Iambe.'

Cf. Bouhours, Entretiens d'Ariste et d'Eugene, ii. (La Langue Françoise): 'Le sommeil charme-soucy, le ciel porte-flambeau, le vent chasse-nue, l'abeille suce-fleurs, les fleurs soueve-flairantes, les Dieux chevre-pieds, sont des dictions monstrueuses dans le langage moderne.' 1. 27. Pictoribus atque Poetis. Hor. A. P. 9-10, 12-13.

P. 190, 1. 5. Compare Dryden's letter to Dennis about 'machines,' quoted in the note on the Preface to Juvenal, vol. ii. p. 32, l. 1.

1. 9. Tasso. Rapin does not appear to have censured Tasso, nor was Tasso open to censure, on this account. Rapin's chief remark on Tasso is that he dissolves the Epic with too much of the Pastoral and Lyrical element. See note on Preface to Juvenal,

1. 7. Camoens. Cf. Rapin, Reflexions sur la Poëtique en particulier, c. 13: 'le Camoens qui parle sans discretion de Venus, de Bacchus et des autres divinitez dans un Poëme Chrestien.' The Lusiad was translated into English by Sir R. Fanshawe, 1655.

1. 12. Wit. See Preface to Albion and Albanius, p. 270, and Second Miscellany, p. 258, and compare Dryden's Life of Lucian: 'If Wit consists in the propriety of thoughts and words, which I imagined I had first found out, but since am pleasingly convinced that Aristotle has made the same definition in other terms,' &c. The passage in Aristotle's Poetics, c. 6, was pointed out by 'the learned and ingenious Mr. Twining' (Malone): тpítov dè † diávoia . τοῦτο δέ ἐστι τὸ λέγειν δύνασθαι τὰ ἐνύντα καὶ τὰ ἁρμόττοντα.

1. 16. If our critics. This sentence does not run smoothly and probably or has dropped out between the two ifs: if our critics will join issue... or if they will take it . . . it will be easy,' &c.

1. 17. convenire in aliquo tertio; to find some means of agreement, in a third term, between the two opposites.

ALL FOR LOVE, PREFACE (1678).

P. 192, 1. 20. machine: in the less common meaning of dramatic motive. Compare Epilogue to Edipus, ll. 9, 10:

'Terror and Pity this whole Poem sway

The mightiest Machine that can mount a Play.'

P. 193, 1. 19. Montaigne: Essais, l. ii. c. 17: de la presumption. P. 194, l. 16. their Hippolytus: in the Phèdre of Racine; a new play, Jan. 1, 1677, at the Hôtel de Bourgogne.

P. 195, 1. 4. our Chedreux critics. Cf. Prologue to Albion and Albanius, 1. 32:

'Then 'tis the mode of France, without whose rules

None must presume to set up here for fools.'

Chedreux, a fashionable periwig, from the name of the inventor; cf. Etherege, The Man of Mode, 1676, A. iii. s. 2, where Sir Fopling Flutter's periwig is Chedreux: 'he wears nothing but what are originals of the most famous hands in Paris.'

P. 196, 1. 3. a picture of Nature. See Introduction, p. xxiv.

1. 16. Rarus enim, &c. Juvenal, Sat. 8. 73.

P. 198, 1. 4. that grinning honour. Falstaff: 'I like not such grinning honour as Sir Walter hath; give me life; which if I can save, so; if not, honour comes unlooked for, and there's an end' (1 Henry IV. Act v. sc. 3).

1. 28. Crispinus. Hor. Sat. i. 1. 120; 3. 139.

1. 28. in the Holy Way.

Poetaster, Act iii. sc. 1.

1. 32. Demetri teque, &c.

Hor. Sat. i. 9; and Ben Jonson,

Hor. Sat. i. 10. 90.

P. 199, 1. 5. Saxum antiquum, &c. Virgil, Aen. xii. 897.

1. 10. Genua labant, &c. Ibid. 905.

1. 14. this rhyming judge of the twelvepenny gallery. Dryden had been touched by Lord Rochester's, (anonymous) Allusion to the Tenth Satire of the First Book of Horace, and chose to attribute it to some insignificant person. The Allusion begins with Dryden :

'Well, Sir, 'tis granted; I said Dryden's rhymes
Were stolen, unequal, nay dull many times:
What foolish patron is there found of his,

So blindly partial to deny me this?

But that his plays, embroider'd up and down
With wit and learning, justly pleas'd the Town,
In the same paper I as freely own,' &c.

1. 33. Vellem in amicitia, &c. Hor. Sat. i. 3. 41. P. 200, 1. 2. a slow man hasty, &c.

Cf. Rochester, op. cit.:
'Of all our modern wits, none seems to me
Once to have touch'd upon true Comedy
But hasty Shadwell and slow Wycherley.'
1. 4. Canibus pigris, &c. Juvenal, Sat. viii. 34.
1. 8. Lucretius. Book IV. 1152 sqq.

1. 12. ad Ethiopem cygnum.
1. 23. Vos exemplaria Graeca.

Juv. Sat. viii. 33.

Hor. A. P. 268.