62:19, Lion sent from the Tower. There was a small menagerie at the Tower. In 1709 it contained "lions, eagles, catamountains, leopards." To see the lions at the Tower was a common pastime. Ashton, Social Life, chapter xx.

62:20, Hydaspes. L'Idaspe Fedele, by Francesco Mancini (1674-1739) was produced May 23d, 1710. Nicolini, as Hydaspes, is thrown to a lion, whom he vanquishes. Cf. Spectator, No. 314.

66: Motto. Now all the pleasure of the knights has gone from the ear to the uncertain eye and to vain delights. Horace, Epist. II, i, 187-8.

67: 9, Arsinoe. This opera, by Stanzani, was performed at Bologna in 1677. An English version of it was given at Drury Lane, January 16, 1705. The singers were all English. See Ashton's Social Life, chapter xxvi.

67:30, Camilla. By Marc Antonio Buononcini (1675–1726.) It was given at Drury Lane Theatre, March 30, 1706, by English singers, and in 1707 by Italian and English singers. See Oxford History of Music, Vol. IV., chapter x.

70: 17, Phaedra and Hippolitus. By Edmund Smith (1672-1710.) This play, for which Addison furnished the prologue, was produced April 21, 1707. It was a signal failure, and ran but four nights. For other attacks on the Italian opera, see Addison's papers, Nos. 5, 29. It is interesting to compare with Addison's essays on Italian opera, Pope's attack in his Dunciad, Book IV. (1742), 11. 45–70. 70:26, Plato. Republic, III.

70:71, Motto. Fierce Volscens rages, nor does he see anywhere the author of the shaft, nor whither in his eagerness he can shoot back. Virgil, Eneid, ix., 420-21.

72: 22, Socrates. Plato relates this in his Phado, ?? 40. The comedy of Aristophanes is The Clouds.

73:9, Catullus. Carmina, XXIX. Addison's authority for Cæsar's treatment of Catullus is Vita Duodecim Cæsarum, by Suetonius.

73: 12, Mazarin. Cardinal Mazarin (1602-1661), Prime Minister of France, succeeding Richelieu.

73: 13, Quillet. Claude Quillet (1602-1661), Abbé of Doudeauville. His Latin poem on education, Callipedia, (1655) alluded sneeringly to Mazarin's Sicilian origin. The second edition (1656) omitted this reference to him.

73:26, Pasquin. In 1501 a mutilated statue was disinterred at Rome by Cardinal Caraffa, and set up near his palace. This statue was popularly called Pasquino. The custom of posting satirical verses on it gave to these compositions the name of Pasquinades. In a collection of them (1509) is the statement that a schoolmaster named Pasquin lived near the spot where the statue was found, and gave his name to it, For examples of Pasquinades, see D’Israeli, Curiosities of Literature, Pasquin and Marforio.

73:24, Sextus Quintus. Sextus Quintus (1521-1560), Pope from 1585-1590. He was of humble origin. "This story

is found in the Life of Sextus V., by Gregorio Leti, published in 1669, a work, says Baron Hübner, full of silly tales, of contradictory statements, and of palpable falsehoods." Arnold.

74: 10, Aretine. Pietro Aretine (1492-1557), the Italian satirist, called the "Scourge of Princes."

75: 20, Roger L'Estrange. L'Estrange (1616–1704), the Royalist pamphleteer and journalist, published his Fables of Esop and other eminent Mythologists, in 1692. These few lines comprise fable 498 in this edition.

76: Motto. Pale death knocks impartially at the huts of the poor, and at the towers of kings, O, happy Sextus. The great brevity of life forbids us to cherish remote hope. For now night o'ertakes you, and the fabled shades and the wretched home of Pluto. Horace, Odes, I, iv, 13, ff.

77:4, Homer. Iliad, XVII, 216; Virgil. Æneid, VI., 483. 777, Path of an Arrow. Wisdom of Solomon, V, 12-13. 78:23, Sir Cloudesley Shovel. Sir Cloudesley Shovel (1650-1707), Commander-in-Chief of the Navy, was wrecked

off Scilly Islands. His body, cast on the shore, was buried by the Government in Westminster Abbey.

79: 15, Another day. See Spectator, 329.

80: Motto. "Nor does Apollo always bend his bow.” Horace, Odes II x. 29.

80:21, Sign Posts. "The numbering of the houses was recommended by a report in the year 1754 Prescott Street, Goodman's Fields, was the first street whose houses were numbered. Hatton, in 1708, records the fact. The origin of this practice was probably due to the fact that the street contained many foreign Jews, who continued in London what they had been accustomed to do on the continent. In 1767 an Act of Parliament orders that "every house, shop or warehouse be marked or numbered." Besant. London in the Eighteenth Century, p. 129. See also pp. 89, 95, 96, 342.

.

81:4, Blue Boar. The Blue Boar in Holborn is often mentioned in advertisements, and there was a Blue Boar tavern in Rosemary Lane. Evidently Addison is not inventing his illustrations.

81: 13, Dog and Gridiron. In a list of tavern signs, Besant (appendix 6), gives the Goose and Gridiron, Eagle and Child, Magpye and Bear, Harp and Pillars, Elephant and Castle, etc.

82: 11, Mrs. Salmon. The wax-works of Mrs. Sallmon were famous at this time. See Ashton, Social Life, chapter xxi.

82:7, Abel Drugger. See Johnson's Alchemist, II, i. 682-8.

82:21, Bell Savage. An advertisement in Tatler, No. 235, reads: "At the Great Wheat Sheaf painted upon a copper plate, next the Bell Savage Inn, upon Ludgate Hill," etc. For interesting articles on London signs, with curious example of punning signs, see papers by Burkitt in British Archæological Journal, vols. ix, x.

84: Motto. Nothing is more senseless than a foolish laugh." Catullus, Carm. xxxix, 16.

84: 18, Bedlam. The popular contraction for Bethlehem Hospital, an institution for the insane, founded in 1547.

85:5, Shadwell. Thomas Shadwell (1642–1692), dramatist and poet-laureate, satirized by Dryden in Mac Flecknoe (1682) and in Absalom and Achitophel, Part II, (1682).

85:7, One of his plays. While there are many allusions to window breaking in Shadwell's Squire of Alsatia (1688) and the Scourers (1621), this allusion seems to be a general one. Cf. Squire of Alsatia, Act I, Scene I.

88: Motto. "I endure a great many things when I write, that I may appease the irritable race of poets.' Horace, Epistles, II, ii. 102-3.

88: 17, Cowley. See note. 1:32. The reference is to his ode, Of Wit, stanza vii.

88: 26, Seneca. De Providentia, 2. Addison uses this as a motto for Cato.

89:23, Aristotle observes. Poetics, IV., Rhetoric, iii.

90: 4, Play in rime. Whether rime or blank verse should be used in tragedy had been a controversy between Dryden and Howard. See Dryden's Dedicatory Epistle to the Rival Ladies (1664), Howard's Preface to four new Plays (1665), Dryden's Essay of Dramatic Poesy (1668). This last essay furnished Addison the main points in this paper.

91: 16, Dialogue in plain English. Drummond (Conversations, xv.) said that Jonson wrote his verses first in prose, for so his master, Camden, had learned him." Jonson stated "That verses stood by sense without either colour or accent" which, adds Drummond, other times he denied.

91: 32, A fine observation in Aristotle. Poetics. xxiv. 92:3, Horace. Ars Poetica, 95-98.

92:20, Lee. Nathaniel Lee (1653-1692). His Rival Queens or the Death of Alexander the Great was produced with marked success in 1677. Near the end of Act I. occurs Statira's line :

Then he will talk; Good Gods, how he will talk.

93:13, Otway. Thomas Otway (1651-1685), called by

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], I 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 Behn'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.