owe that the Notes, as here acknowledged, were rather slurred over than written with due care: I am not sorry that you will not allow any thing towards the Notes; for to make them good, wou'd have cost me half a yeare's time at least. Those I write shall be only marginall, to help the unlearned, who understand not the poeticall fables. The Prefaces, as I intend them, will be somewhat more learned. It wou'd require seaven yeares to translate Virgil exactly. But I promise you once more to do my best in the four remaining books, as I have hitherto done in the foregoing. Upon triall I find all of your trade are sharpers, and you not more than others; therefore I have not wholly left you. Mr. Aston does not blame you for getting as good a bargain as you cou'd, though I cou'd have gott an hundred pounds more: and you might have spared almost all your trouble, if you had thought fit to publish the proposalls for the first subscriptions; for I have guinneas offer'd me every day, if there had been room; believe, modestly speaking, I have refus'd already 25. I mislike nothing in your letter therefore, but onely your upbraiding me with the publique encouragement, and my own reputation concern'd in the notes; when I assure you I cou'd not make them to my mind in less than half a year's time."" [SCOTT.] 7092, n. Past. IV. 72. Dea nec. So F1; F2 reads dea non. Virgil had. F1 reads Virgil has, which perhaps should have been retained in the text. Conde's father. F1 reads Condé, omitting father. 7101, n. Geor. II. The Praises of Italy. Dryden refers to a piece printed in Miscellany Poems, 1684. My Miscellany. F1 reads the Miscellany. 7102, n. Geor. II. Laudato. Georgics, ii. 412, 413: cf. 461, 570, 571. n. Geor. IV. 27. Le roi, etc. "The king will think it over;" the formula for refusing the royal assent to a bill passed by parliament. n. Geor. IV. 477. Fifty. Dryden's, or the printer's, mistake for fifteen. n. Geor. IV. 656. Ariosto. Cf. 2891, 9, n. 711', n. Æn. I. 111. Macareus and Canace. Cf. 92-95. n. Æn. I. 196. In a passion. F1 reads in Passion. n. En. I. 451. Ancient Greek poem. The Homeric Hymn to Aphrodite. 7112, n. Æn. III. 132. Bochartus. v. 4941, 47, and n. 4941, 42. n. Æn. IV. 944. Dira, etc. Garbled from, Dira detestatio Nulla expiatur victima (Epode v. 89, 90). 712, n. n. IV. 944. Uses, in the. F1 reads uses in the; F2 uses the. Omina. FF read omnia. 7122, n. Æn. VI. 586. Sir Robert Howard. Cf. B. S. xvii; 11. 7131, n. Æn. VI. 1156. Secretisque piis. v. 4932, 23, n. 714, n. Æn. VI. 1235. Two gales, etc. v. n. 610, 1237. Two lines below the first quotation F2 has 9th (for 19th, which is the reading of F1). n. Æn. VII. 367. That Lavinia was averse, etc. Cf. 7161 (n. Æn. XII. 100). 7142, n. Æn. VII. 1020. On the same. Perhaps a misprint for in the same. When a poet. Cf. 4942, 41, n. n. Æn. VIII. 34. Xpúσea xaλkelwν “As gold [is richer] than brass." Iliad, vi. 236. n. Æn. IX. 853. Zvv, etc. Odyssey, v. 295, 296. 715', n. Æn. IX. 1094. Sic quia, etc. "Because the poverty of my native language forces me to do so." Dryden writes from a hazy memory of Lucretius, i. 830–833; iii. 258–261. Si Græco, etc. Cf. 261, 41, n. Ma sì, etc. "Each man's cuirass was so perfect that it could not be pierced in any corner.' Orlando Furioso, xxvi. 124. 7152, n. Æn. X. 312. Camilla. Cf. 5092, 10. n. Æn. X. 662. Sir Robert Howard. Cf. 4992, 42, n. 7161, n. Æn. X. 662. Accus'd. So F1; F2 reads accurs'd. 7162, n. Æn. XII. 808. Six last. FF read sixth last. 717. TRANSLATIONS FROM OVID'S ART OF LOVE, etc. It is pleasant to conjecture that Dryden withheld these pieces from the press because of their extreme indecency: cf. 7412, 44 f; 746', 18 f. In the following notes the 1709 edition of the Art of Love is cited as ed. 1, and the 1704 texts as 5M. 719, 84. Isis'. v. 396-400, 769-1041. 103. Berries. Probably hillocks; less likely, burrows: v. N. E. D. 127. Plaudit. In italics in ed. 1 and 5M. 132. The Best. "Alluding to a well-known toast a favorite with our straightforward fathers." SAINTSBURY. More definite information as to this toast may be gathered from the second stanza of Dorset's song to Bonny Black Bess. Cf. Byron, Don Juan, ix. 55-57. 149. Nor. 5M reads not. 720, 206. Urn. Ed. 1 reads Urns, but cf. rhyme. 721, 253. Know'st. Ed. 1 reads knowest, which should have been retained in the text. 291. Baian. Spelled Bajan in ed. 1. 722, 321. Myrrha. Cf. 806–811. 325. In Ida's, etc. Cf. 402, 109–120; 432, 6886; 594, 33-46; 601, 604. 364. Io. v. 396-400, 769-1041. 369. The son. "The Minotaur." SCOTT. 723, 374. Thy daughter. "Scylla." SCOTT. 381. Phædra. Cf. 601, 605; 725, 576; 729, 851. 725, 577. Adonis. Cf. 811, 380-389. 605. On the shore. So 5M; ed. 1 reads in the shore. 608. The Mimallonian dames. Cf. 360, 194. 726, 610. Silenus. Cf. 297', 7; 431-433. 611. Clear. Very drunk: v. N. E. D., under Clear, 24. 727, 737. Phalaris. "The famous brazen bull of Phalaris, tyrant of Agrigentum in Sicily (about B. c. 570), in which he burnt alive his victims, is here, for the sake of rhyme, con verted into a cow. Perillus, the inventor of the engine of torture, was the first to suffer by. it." [SCOTT.] 739. A rightful doom, etc. Cf. 122, 1010, 1011. 728, 778. Achilles. Cf. 868, 261-287. 782. The nobler Pallas. Cf. 624, 1097. 799. Grateful. Here used for pleasing. [ScOTT.] Suggested by gratum in the Latin. 729, 851. Perithous. Cf. 787, 50, n; 756, 358. 871. Proteus. Cf. 483, 484, 557-598. 4. But Cupid, etc. Latin heroic poetry is written in hexameters; Latin elegiac poetry in Couplets, the hexameter alternating with the pentameter: hence the term unequal (1. 34), which, however, is Dryden's, not Ovid's. 730, 7. Hippodamia's. Dryden accents incorrectly, Hippoda'mia instead of Hippodami'a; cf. 601, 606, n. For the story, v. 857, 292 f. 731. ALEXANDER'S FEAST. On September 3, 1697, Dryden wrote in a letter to his sons at Rome: "I am writing a Song for St. Cecilia's Feast, who, you know, is the patroness of musick. This is troublesome, and no way beneficial; but I could not deny the Stewards of the Feast, who came in a body to me to desire that kindness, one of them being Mr. Bridgman, whose parents are your mother's friends." Notwithstanding this statement, which shows that Dryden had begun work on his poem nearly three months before St. Cecilia's Day, an apocryphal story has been often repeated, that he wrote Alexander's Feast at a single sitting. (The tale goes back to Warton, Essay on the Genius and Writings of Pope, § 8, where it is given on fifth-hand authority. Against it also is a statement in a lost letter by Dryden, referred to by Birch see Malone, I, 1, 286 — that he spent almost a fortnight in composing and correcting the poem.) According to another story (first printed by Derrick), which may be true, Dryden ultimately received forty pounds for his work (Ibid. 287). Malone relates that Lord Chief Justice Marlay, when a young man, frequented Will's Coffee-House, and, Alexander's Feast, not long after its appearance, being the theme of every critic, young Marlay, among others, took an opportunity of paying his court to the author; and happening to sit next him, congratulated him on having produced the finest and noblest ode that had ever been written in any language. 'You are right, young gentleman,' replied Dryden, 'a nobler ode never was produced, nor ever will."" (Ibid. 476, 477.) It would be interesting to know Dryden's direct source for the incidents of this poem. Athenæus (576 D) writes: "Did not Alexander the Great keep with him Thais the Athenian courtesan, of whom Clitarchus relates that she was the cause of the burning of the palace in Persepolis ? The same writer (538 F) speaks of Timotheus as one of the flute-players at the marriage feast celebrated by Alexander after his capture of Darius. Suidas (under Tuódeos) relates that Alexander was extremely fond of music, and that Timotheus so moved him by his strains, that, as he was listening to him, he jumped up to arms. (This Timotheus of Alexander's time must be distinguished from the great musician and poet Timotheus, who died in B. c. 357.) But Dryden is not likely to have read either Athenæus or Suidas. Burton relates: "Timotheus the musicisa compelled Alexander to skip up and down and leave his dinner" (Anatomy of Melancholy. ii, § 2, mem. 6, subs. 3). This passage may be the germ of Dryden's ode. Burton's authority is Cardan, De Subtilitate, xiii: Alterum Timothei, qui modo mutato Alerandrum coegit alacritate impulsum ezilire e convivio. On St. Cecilia, v. n. 253, 52. 9. Thais. Dryden originally wrote Lais; in a letter to Tonson he cautions him: "Remember in the copy of verses for St. Cecilia, to alter the name of Lais, which is twice there, for Thais; those two ladyes were contemporaryes, which causd that small mistake." (Malone, I, 2, 60.) 29. Sublime, etc. Cf. 544, 646; 579, 115. 30. Olympia. The name of Alexander's mother was Olympias; the change to Olympia may be either a blunder or a deliberate alteration to avoid accumulation of sibilants. [SAINTSBURY.] 40. Affects to nod. Cf. 655, 153, 154. 732, 49. The jolly god, etc. Lines 49-60 might well be inclosed in quotation marks, which are not used at all in the original editions. 52. Honest face. Cf. 460, 510, n; 769, 100. 57. Soldier's. Ed. 1 and that in Fables read Soldiers, but Soldier's is found in 1. 62, making it clear that a singular is intended. 67. Battles. The early texts read Battails. 107. The many, etc. Cf. 775, 545, n; 777, 665. 733. To MR. GRANVILLE. In 1695 several of the leading actors, including Betterton and Mrs. Bracegirdle, seceded from the United Patentees (cf. headnote, p. 153), whose theater was in Drury Lane, and established a house of their own in Lincoln's Inn Fields. Granville's play was acted by Betterton's company. Dryden's references, in this poem, to the rivalry between the two houses, brought forth a retort from George Powell, the principal actor at the theater in Drury Lane, in the preface to an anonymous tragedy, The Fatal Discovery, published in 1698. The following extracts are reprinted from Malone (I, 1; 311, 312): "Here I am afraid he makes but a coarse compliment, when this great wit, with his treacherous memory, forgets that he had given away his laurels upon record twice be fore, viz. once to Mr. Congreve [p. 412] and another time to Mr. Southerne [p. 278, but Powell exaggerates]. Pr'ythee, old Edipus, expound this mystery! Dost thou set up thy transubstantiation miracle in the donation of thy idol bays, that thou hast them fresh, new, and whole, to give them three times over?... 44- For the most mortal stroke at us, he charges us with downright murdering of plays, which we call reviving. I will not derogate from the merit of those senior actors of both sexes, of the other house, that shine in their several perfections, in whose lavish praises he is so highly transported; but, at the same time, he makes himself but an arbitrary judge on our side, to condemn unheard, and that under no less a conviction than murder, when I cannot learn, for a fair judgment upon us, that his reverend crutches have ever brought him within our doors since the division of the companies. T is true, I think, we have revived some pieces of Dryden, as his Sebastian, Maiden Queen, Marriage à la Mode, King Arthur, etc. But here let us be tried by a Christian Jury, the Audience, and not receive the bowstring from his Mahometan Grand Signiorship. 'T is true, his more particular pique against us, as he has declared himself, is in relation to our reviving his Almanzor [The Conquest of Granada]. I confess, he is a little severe, when he will allow our best performance to bear no better fruit than a crab vintage. Indeed, if we young actors spoke but half as sourly as his old gall scribbles, we should be all crab all over." This is a peculiar diatribe, since it is obvious that all Dryden's strictures, with the exception of the crab vintage (1. 38), refer to the senior actors at Lincoln's Inn Fields. The text of the poem contained in The Genuine Works in Verse and Prose of the Right Honourable George Granville, Lord Lansdowne, 1736, contains the following notes: (on 1. 35) "Mr. Betterton's Company in Lincolns-Inn Fields;" (on 1. 38)" Drury Lane Play-House." As these do not occur in the 1698 edition of Heroic Love, they can scarcely be due to Dryden himself. The following passage in Downes's Roscius Anglicanus (el. Knight, 1886, p. 46) will serve as a commentary on ll. 19-22: "In the space of Ten Years past, Mr. Betterton to gratify the desires and Fancies of the Nobility and Gentry; procur'd from Abroad the best Dances and Singers, as, Monsieur L'Abbe, Madam Sublini, Monsieur Balon, Margarita Delpine, Maria Gallia and divers others; who, being Exorbitantly Expensive, produc'd small Profit to him and his Company, but vast Gain to themselves." Apparently the Drury Lane Company adopted similar devices to win favor: v. Epilogue to Farquhar's Love and a Bottle. 7341, 21. And, etc. Cf. 278, 11. 29. Itys. Slain by his mother Procne, and offered by her as food to his father Tereus. TO MY FRIEND MR. MOTTEUX. This epistle is in large part a feeble reply to Collier's Short View: v. B. S. xxxvi; n. 7342, 18; and cf. 7421, 13-22; 7451, 29 f; 7491, 30 f; 873, 61-68; 890, 1-41; 899 (Epil.). Collier's book had a great and salutary influence on the morals of the English stage; Dryden seeks to confuse the issue by likening him to the Puritans, who in 1642 had suppressed the theater entirely. Collier himself was a Tory, an High Churchman, and a fanatical adherent of James II. 7342, 4. Solomon. Ed. 1698 reads Salomon. 18. Their faults, etc. "The poet here endeavors to vindicate himself from the charge of having often, and designedly, ridiculed the clerical function." ScOTT. This had been one of the charges pressed most vigorously by Collier against Dryden: cf. 7451, 23 f; and, for the grounds of the accusation, 111, 99; 111, 128, n; 4922, 46-49. 19. Rebellion, etc. "Cf. 1 Samuel xv. 23: 'For rebellion is as the sin of witchcraft."" [CHRISTIE.] 35. His tripled unity. v. B. S. xviii, xix. 735'. EPIGRAM ON TONSON. Faction Display'd, a satirical poem first published in 1704, and attributed to William Shippen, contains the following passage: Now the Assembly to adjourn prepar'd, } In regard to this epigram, Malone (I, 1, 525) tells the following anecdote, the source of which the present editor has been unable to discover: "On another occasion, Tonson having refused to advance him a sum of money for a work on which he was employed, he sent a second messenger to the bookseller, with a very satirical triplet; adding, 'Tell the dog that he who wrote these lines can write more.'"' LINES TO MRS. CREED. Mrs. Creed was the daughter of the Sir Gilbert Pickering mentioned in B. S. xvi. Of this Sir Gilbert Pickering both Dryden and his mother were own cousins (Malone, I, 1, 28). Christie notes that 'skilful would do as well" as well-wrought to fill up the gap in the third line. 7352. THE MONUMENT OF A FAIR MAIDEN LADY. The text on the monument in Bath Abbey reads but seem'd in l. 29. The other variations mentioned by Christie do not occur in the Fables or in the copy of the inscription sent to the editor by the Rector of Bath. 736, 20. For marriage, etc. But like a lampe of balsamum, desir'd Cf. 2702, 4, n. FABLES. Dryden received from Tonson only £300 for this volume, of which £268, 158. were paid to him at the time of contract, and the remainder to his heirs on the publication of a second edition in 1713. The motto is from Eneid, v. 55-57: "Now are we near the ashes and the bones of our parent, surely, I think, not without the purpose and the guidance of the gods." The reference of course is to the translations from Chaucer in the volume. The following excerpts from a letter of Wordsworth to Sir Walter Scott, November 7, 1805, are of special interest in connection with the Fables: "I was much pleased to hear of your engagement with Dryden; not that he is, as a poet, any great favourite of mine. I admire his talents and genius highly, but his is not a poetical genius. The only qualities I can find in Dryden that are essentially poetical, are a certain ardour and impetuosity of mind, with an excellent ear. It may seem strange that I do not add to this great command of language; that he certainly has, and of such language too, as it is most desirable that a poet should possess, or rather, that he should not be without. But it is not language that is, in the highest sense of the word, poetical, being neither of the imagination nor of the passions - I mean of the amiable, the ennobling, or intense passions. do not mean to say that there is nothing of this in Dryden, but as little, I think, as is possible, considering how much he has written. You will easily understand my meaning, when I refer to his versification of Palamon and Arcite, as contrasted with the language of Chaucer. Dryden has neither a tender heart, nor a lofty sense of moral dignity. Whenever his language is poetically impassioned, it is mostly upon unpleasing subjects, such as the follies, vices, and crimes of classes of men, or of individuals. That his cannot be the language of imagination, must have necessarily followed from this; that there is not a single image from nature in the whole body of his works; and in his translation from Virgil, whenever Virgil can be fairly said to have his eye upon his object, Dryden always soils [spoils ?] the passage. "I think his translations from Boccaccio are the best, at least the most poetical, of his poems. It is many years since I saw Boccaccio, but I remember that Sigismunda is not married by him to Guiscard (the names are different in Boccaccio in both tales, I believe, certainly in Theodore, &c.) [Really, only in the latter tale.] I think Dryden has much injured the story by the marriage, and degraded Sigismunda's character by it. He has also, to the best of my remembrance, degraded her still more, by making her love absolute sensuality and appetite; Dryden had no other notion of the passion. [Cf. n. 5012, 37.] With all these defects, and they are very gross ones, it is a noble poem. Guiscard's answer, when first reproached by Tancred, is noble in Boccaccio, nothing but this: Amor può molto più che ne voi ne io possiamo. This, Dryden has spoiled. He says first very well: The faults of love by love are justified,' and then come four lines of miserable rant, quite à la Maximin" [v. 135, 78, n]. (KNIGHT, Life of Wordsworth, 1889, vol. ii, pp. 27-29.) 7371. The Duke of Ormond. James Butler (1665-1745), second Duke of Ormond, ww second son of the gallant Earl of Ossory, and grandson to the great Duke of Ormond (v. £. 120, 817], to whose honors he succeeded in 1688. After being favored by King William, and holding high office under Queen Anne, be entered into relations with the Pretender, and in 1715, soon after the accession of George L. he was impeached of high reason. He cosulted his safety by flying abroad, and passed the remainder of ais life in exile." [SCOTT.] 5. The lives of Plutarch. v. B S. xxx. 7372, 2. Your heroic father. v. 120, 831, n. 7381, 43. The last, etc. "This character of the unfortunate nobleman was not exaggerated." [SCOTT.] He atoned by private virtues for lack of public capacity. 7382, 1. Poplicola. Publius Valerius Publicols (or Poplicola, the name mea sing "the people's friend"), the successor of Collatinus (V. L. 132, 317) in the consulship Cf. n. 10, 249. 31. Human. So F; perhaps umane should be substituted, since the two words were not distinguished in spelling. 60. Aidéoμaι Tρwas. "I stand in awe of the Trojans." HOMER, Iliad, i. 442; xxii. 105 quoted by Cicero ad Atticm, ii. 5 and else where. 7391, 24. Numen commune, ec. "A commes divinity, having fellowship with two worlds." Adapted freely from De Reptu Proserpina, i 89-91, where Claudian adcesses Mercury as belonging both to the gods of heaven and t those of Hades. 39. That." That often serves as a substitute for because, after because has been once used." [SAINTSBURY.] 60. Ulysses, etc. v. 870, 449-459. 7392, 24. Spatiis, etc. Georgics, iv. 147; cf. 479, 218, 219. 28. When, etc. At the battle of Landen. 29 July, 1693, after nearly losing his life amidst the terrible carnage of the day, he was takes prisoner by the French; but, after a brief captivity at Namur, where he found opportunities of munificence towards his fellow prisoners, he was exchanged for the Duke of Berwick." A. W. WARD, in D. N. B. 61. Non ignara, etc. Eneid, i. 630; cf. 533, 890, 891. 740', 5. De meliore luto. "Of better clay." Juvenal, xiv. 35, with de added by Dryden. Cf. 1742, 74, n. 8. Teucri, etc. Eneid, vi. 648, 649; cf. 605. 881, 882. 46. Ostendunt. Eneid, vi. 869, 870, with a change of tense from future to present; ef 609, 1202, 1203. 7402, 5. Of the expense. So F; SS. reads in the expense. The original phrase is confused. but probably by Dryden's error rather than the printer's. 11. A certain nobleman. "This was. I suppose. our author's old foe, Villiers, Duke of Buckingham, the tardy progress of whose great buildings at Cliefden was often the subject of satire." [SCOTT.] Cf. B. S. xxi; 116, 544, n. 40. Sandys. v. 881, 4, n; 3851, 34. 43. Fairfax. Cf. 909, 115, n. 50. Spenser, etc. -Through infusion sweete Of thine [Chaucer's] owne spirit, which doth in me survive, I follow here the footing of thy feete. Faerie Queene, IV. ii. 34. 741, 29. Mr. Hobbes. v. Leviathan, i. 3: "Of the Consequence or Train of Imaginations." 34. The octave rhyme. "The stanza was used, in French, by Thibaut, King of Navarre, in the previous century, and before Boccaccio, in Italian, by the author of the Cantare di Fiorio e Biancifiore. But Boccaccio was the first author to give the octave its rank as the Italian measure for heroic verse [3191, 38]." KER. 50. Mr. Rymer. On this critic, v. B. S. xxiii, xxiv; 2872, 30, n. He is the source of Dryden's misinformation in this passage as to Chaucer, who was strongly affected by French and Italian literature, but not at all by Provençal. "And they, with us, that would write verse, as King Richard, Savery de Mauleon, and Rob. Grostead, finding the English stubborn and unweildy, fell readily to that of Provence, as more glib, and lighter on the Tongue. But they who attempted verse in English, down till Chaucers time, made an heavy pudder, and are always miserably put to 't for a word to clink: which commonly fall so awkard, and unexpectedly as dropping from the Clouds by some Machine or Miracle. "Chaucer found an Herculean labour on his Hands; And did perform to Admiration. He seizes all Provencal, French or Latin that came in his way, gives them a new garb and livery, and mingles them amongst our English: turns out English, gowty, or superannuated, to place in their room the foreigners, fit for service, train'd and accustomed to Poetical Discipline. "But tho' the Italian reformation was begun and finished well nigh at the same time by Boccace, Dante, and Petrarch. Our language retain'd something of the churl; something of the Stiff and Gothish did stick upon it, till long after Chaucer. 44 Chaucer threw in Latin, French, Provencial, and other Languages, like new Stum to raise a Fermentation: In Queen Elizabeth's time it grew fine, but came not to an Head and Spirit, did not shine and sparkle till Mr. Waller set it a running." A Short View of Tragedy, 1693, pp. 78, 79. "Rymer knew something about Provençal poetry, and something about Chaucer, and through Dryden and Pope has made it a matter of traditional belief that Chaucer belongs, in some way or other, to the Provençal School.' Dryden seems not to have distinguished between Provençal and old French." [KER.] 7412, 22. The other harmony of prose. "A reminiscence of Aristotle, Poetics, iv., tĥs deкTIKĤs ἁρμονίας.” KER. 33. They who, etc. Cf. n. 135, 54; n. 136, 149. There may also be a reference to Blackmore; v. 7482, 27, n; 8991, 16, n; 8992, 41, n. 48. Dead coloring. Cf. 51, 7: the dead coloring is the first coat of paint applied to the canvas, used as a foundation for the rest. Dryden seems to have had much interest in the technique of painting; cf. 5, 60, n. 57. Stav'd. Like contraband hogsheads." KER. Verses 7421, 12. Versus, etc. Ars Poet. 322: empty of content, and tuneful trifles." 18. A religious lawyer, etc. Collier: v. B. S. xxxvi; 734 (MOTTEUX), n. 23. I resume, etc. A letter of October, 1699, from Dryden to Charles Montagu, of which the earlier portion is given in n. 784 (To JOHN DRIDEN), concludes as follows: "My thoughts at present are fix'd on Homer: and by my translation of the first Iliad, I find him a poet more according to my genius than Virgil, and consequently hope I may do him more justice, in his fiery way of writeing; which, as it is liable to more faults, so it is capable of more beauties than the exactness and sobriety of Virgil. Since 't is for my country's honour as well as for my own, that I am willing to undertake this task, I despair not of being encourag'd in it by your favour, who am, Sir, Your most obedient Servant, 58. Copying. Possibly a word has dropped out at this point. 61. Dido, etc. Contrast 5052, 27-35. 7422, 15. Mr. Hobbes, etc. Hobbes completed his translation of Homer at eighty-six. His blunders in mathematics had brought ridicule upon him. 22. Now the words are the coloring, etc. Cf. 5142, 23 f. 43. Choleric, etc. "Dryden had before him the locus classicus on humors: v. 824, 138-161." [KER.] 50. Impiger, etc. HORACE, Ars Poet. 121. 53. Quo fata, etc. VIRGIL, Eneid, v. 709: "However much the fates may drag us to and fro, let us follow them." 7431, 3. Longinus, etc. On the Sublime, ch. xii. Dryden knew the work in Boileau's translation; v. B. S. xxiii. 10. A new machine. "Dryden's memory had misplaced the dream of Agamemnon, which in the second book comes before the Catalogue of the Ships." KER. 43. Chaucer's stories, etc. Dryden's information on this topic is sadly at fault. There is no evidence that Chaucer was acquainted with the Decameron. He drew the plot, and much of the detail, of Palamon and Arcite from Boccaccio's epic the Teseide. The story of Griselda he took from Petrarch, whose source was Boccaccio. The main source of his |