Goldsmith "next to Shakespeare the greatest genius England has ever produced in tragedy." His best plays are The Orphan (1680) and Venice Preserved (1682). Venice Preserved was a favourite play with the public. For other references to it by Addison, see Tatler, No. 133, Spectator, No. 44.

94: 1, Roman Historian. Florus, Annals, IV.

94: Motto. And lest you may think, perchance, that I am maliciously praising what I cannot do well myself, but what others succeed in [I will say], think that poet can walk a tight rope, who with nothing distresses me; who, like a magician, stirs me, soothes me, fills me with empty fears, and put me, now at Thebes, now at Athens. Horace, Epist. II, i, 208-13.

94: 10, A ridiculous doctrine. John Dennis (1657-1734) an unsuccessful dramatist and acrimonious critic, maintained the doctrine of poetic justice. He is said to have bitterly resented this paper. See Elwin and Courthope's Pope,

vol. x. 457.

95:13, Aristotle. Poetics, xiii. 6. What Aristotle says is that plays which end unhappily, "if well worked out, are the most tragic in effect."

95:28, Orphan, Venice Preserved. See note 93 : 13.

95: 28-9, Alexander the Great. See note 92:20. Theodosius (1680), by Lee; All for Love (1678), was Dryden's adaptation of Anthony and Cleopatra; Edipus (1679), by Dryden and Lee; Oroonoko (1696), was Southerne's dramatisation of Mrs. Aphra Belin's novel Orinooko (1668).

95:31, As Shakespeare wrote it. Tate's perversion of King Lear (1681) held the stage at this time. It is one of the curiosities of Dramatic literature.

96:7, Mourning Bride. By Congreve (1697). Tamerlane (1702) and Ulysses (1705) were by Rowe. Phaedra and Hippolitus by Smith. See note 70: 17.

96:17, Tragi-Comedy. Dryden, Essay on Dramatic Poesy 1668) discusses and condemns this style of composition.

97:18, Powell. George Powell (1658-1714), a popular actor and dramatist.

99: 10, Conquest of Mexico. The Indian Emperor or the Conquest of Mexico (1665) by Dryden.

99: Motto. You would think the grove of Garganus or the Tuscan sea was roaring, with so great a tumult they view the plays, the scenery, the foreign riches; when daubed with these ornaments the actor steps on the stage, hands meet in applause. Has he said anything? No indeed. What catches the crowd then? The costume, imitating violets by Tarentian dyes. Horace, Epist. II, 202-7.

99: 16, Aristotle. Poetics, XIV.

101:16, An ancient Tragic Poet. Euripides. See Aristophanes, Archanians, 11. 404-50.

102: 5, Non tamen. Ars Poetica, 11. 182-4.

It is interesting to compare Addison's remarks on costumes and scenery with Steele's Prologue to The Funeral, 1701, and his Prologue to Vanbrugh's The Mistake, 1705. See also Pope's Epistle to Augustus (1737) 11. 330-337.

103: Motto "Hear what I and the public with me expect (from you) Horace, Ars Poetica, 153.

104:9, Venice Preserved. See note 93: 13. Addison here, as in Tatler, No. 133, alludes to Act V.

104: 20, Hamlet. Act I. Sc. IV. 38-54.

106:31, Play of Corneille. Horace (1640).

109: 11, Nec pueros, etc., Horace, Ars Poetica, 185-188. 110:6, Bullock. William Bullock (1657 ?-1740?) a popular comedian. See Tatler, No. 188.

110:6, Norris. Henry Norris (1665-1730?) popularly known as "Jubilee Dicky." "Norris indeed had a little formal figure which looked droll in a long coat." Dict. of Natl. Biog.

110: 12, Head peeping out of a barrel. Etherege's Comical Revenge or Love in a Tub (1664) Act IV, Sc. VI. 110. Motto. "For Nature never says one thing and Philosophy another," Juvenal, Satire XIV, 321.

110: 21, Indian kings. Swift, Journal to Stella, Saturday, April 28th, 1711, writes "The Spectator is written by Steele, with Addison's help; 'tis often very pretty. Yesterday it

was made of a noble hint I gave him long ago for his Tatlers, about an Indian supposed to write his travels into England. I repent he ever had it. I intended to have written a book on that subject. I believe he has spent it all in one paper, and all the under hints are mine too; but I never see him or Addison." The Tatler referred to is No. 171.

The Indian chiefs, allies of England and the Colonies against the French in Canada, were sent to London, April 1710, to confirm their loyalty. Boyer, Annals, Vol. IX. pp. 189-91 gives an interesting account of their visit. He records a speech of these " four kings or chiefs of the Six Nations in the West Indies, which lie between New England and New France or Canada." See also Ashton, Social Life chapter XXI.

110:27, Upholsterer. Said to be Thomas Arne, an upholsterer in King St., Covent Garden. He was the father of Thomas Arne (1710-1788) the composer.

114:31, Black Spots. See Spectator No. 81.

115: Motto. "With much labour they do nothing' Seneca, De Brevitate Vitae, XIII.

116:15, Tryphiodorus. A Greek writer who lived in Egypt at the beginning of the sixth century. His only poem extant is on the capture of Troy. For Addison's reference to him, Gregory Smith cites Hesychius of Miletus whose brief notice of Tryphiodorus Addison follows.

117: 18, Cæsar, Cicero. Addison takes these illustrations from the section entitled Rebus or Name devices in Camden's Remains.

118: 18, Newberry. Cf. Remains, sixth edition, 1657 p. 331, "Master Newburie the Stationer, devised for himself an Ewtree with the berries, and a great N hanging upon a snag in the midst of the tree, which could not choose but make Newberrie."

118:19, Camden. William Camden (1551-1623), Master of Westminster School, Antiquarian, and Historian. His Remains concerning Britain was published anonymously in

118:28, Blenheim House. Erected from public funds (1705-1716) for the Duke of Marlborough. Vanbrugh was the architect. Milton uses this same pun in his controversy with Salmasius. See Johnson's Life of Milton.

119:13, Erasmus. Desiderius Erasmus (1465-1536) the humanist and satirist. See his Colloquia Familiara, Echo. 119: 20, Hudibras. Hudibras (1663) by Samuel Butler (1612-1680) a satirical poem on the Puritans. Addison cites Part I, iii, 11. 183-220. It is, however, Orsin and not Bruin who speaks these lines.

120: Motto. Is it for this you grow pale? Is this the reason why one does not eat? Persius, Satire III, 85.

121:27, Anagrams. Addison certainly knew that anagrams did not originate in the middle ages. Camden, whom he cites, gives some Greek anagrams and says "The Greeks refer this invention to Lycophron," the Alexandrian poet and grammarian who lived in the time of Ptolomy II (309– 247 B. C.). For good examples of the "False Wit "exposed in these two papers, see D'Israeli, Curiosities of Literature, section Literary Follies.

122:14, I have heard of a gentleman. Cf. Dunton's Life and Errors (1705) p. 74. "My friends began to persecute me with the subject of marriage. Old Mr. Seaton recommends to my choice Sarah Day. While the frenzy was upon me, I fell to riming, Sarah Day. Anagr. D. has a ray."

A 17th century folio, partly MS., in the Vale library, has the following anagrams, dated 1660: Charles Stuart-Arts chaste rule. Charles Stuart-Clear as truth. George Monk -K. come o're.

"When statesmen heard we would the K. restore.

They asked who durst doe it? Wee said K. come o're." 123:20, Chronogram. This paragraph appears in Addison's, Dialogue on Medals, III. (1721).

It con

124: 26, Mercure Galant. Founded by de Visé in 1672 and continued after 1714 as the Mercure de France. tained court news, gossip of the day, and light verse. 125:10, Menage. Gilles Menage (1613-1692) scholar and

critic, the original of Vadius in Molière's Femmes Savantes. Menagiana, a collection of his conversations, etc., was published in 1693-4.

126: 11, Sarasin. Jean Francois Sarazin (1603-1654) poet and wit, rival of Voiture.

126:21, Hudibras, I, I, 11-12; I, II, 12−2.

127. Motto. Here corn, there the vines grow best. There fruit trees flourish, and herbs spring unbidden. Do you not see how Tmolus sends its scented saffron, India its ivory, the soft Sabaeans their own incense, the naked Chalybes iron, Pontus the strong smelling Castor, Epirus mares that win the palms at Olympic games. Nature has ever placed these laws and eternal covenants on certain places. Virgil, Georgics I, 54-61.

127: 2, Royal Exchange. Miege, L'Etat Présent de la Grande Bretagne (1708) calls it "the most noble edifice of its kind in the world. It was founded by Sir Thomas Gresham in 1566, just a century before it was burned. It is now much more magnificent than it was before the fire, built entirely of Portland stone . . . The merchants meet there daily (except Sundays, festival days, and fast days) from one until two . . In the court, in niches above the pillars, are statues in marble and alabaster of the kings and queens of England since the Norman conquest . . . Above are galleries, with more than 200 shops, full of fine wares, especially adornments for men and women . . . . . The building, although not occupying an acre, cost £50,000, and yields a yearly rent of £4,000. It is, perhaps, for its size the richest piece of earth in the world,” (pp. 232–8.)

131. Motto.

Sometimes the crowd sees rightly,” Horace. Epist. II, i. 63.

132:11, Molière. See Boileau, Reflexions Critiques sur Quelques Passages du Rhéteur Longin, I. (1694).

133:22, Gothic. At this time, "Gothic" was synonymous with barbarous, rude.

133: 5, Chevy Chase. The "Hunttis of Chevet ” is mentioned in 1549. Ten years later, it was written down by