Part 28 (1/2)

_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 Pa.s.sions_. 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 the help_. III, x, 47.

_the change of Malbecco_. III, x, 56-60.

P. 31, n. _That all with one consent_. ”Troilus and Cressida,” iii, 3, 176.