Page 409. "Arden of Feversham." It is thought probable that Shakespeare may have revised this play. Although Mr. Swinburne is inclined to the theory that Shakespeare was the author, the consensus of opinion is against him in this matter.

Page 415. Lamb's footnote. Alsatia was the name given to the precinct of Whitefriars, a sanctuary for debtors until 1697.

Page 423. "The Two Angry Women of Abingdon." This extract, when printed in the Table Book, led to the following letter from Lamb to Hone :

"Damnable erratum (can't you notice it?) in the last line but two of the last Extract in No. 9, Garrick Plays—

"Blushing forth golden hair and glorious red :'

"A sun-bright line spoil'd. "67. Blush for Blushing.

"N.B.-The general Number was excellent. higher

Also a few lines

should have a full stop. 'Tis the end of the old man's speech. These little blemishes kill such delicate things: prose feeds on grosser punctualities. You have now three Numbers in hand; one I sent you yesterday. Of course I send no more till Sunday week. "P.S.-Omitted above—‘Dear Hone.'

C. L."

Page 428. Heywood's "Hierarchie of Blessed Angels." The date is 1635, not 1634. The passage which Lamb quotes (see page 245 of 1635 edition) was to have formed part of a projected work by Heywood called "The Lives of all the Poets, Modern and Foreign."

Page 428. Lamb's footnote. The full title was "The Fair Maid of the Exchange, with the Pleasant Humours of Fanchurch, very delectable and full of Mirth."

Page 437. "The Battle of Alcazar." In Lamb's Note-Book, after the last line, come these:

:

Cal. Thanks, good my Lords, and tho' my stomach be

Too queasy to digest such bloody meat,

Yet strength I it with virtue of my mind.

Page 439. Lamb's note to "Two Tragedies in One." The full title of the plays is "Two Lamentable Tragedies. The one of the Murther of Maister Beech, A Chaundler in Thames-streete, and his boye, done by Thomas Merry. The other of a young childe murthered in a Wood by two Ruffins, with the consent of his Unckle." Much mystery attaches to this Robert Yarrington. It is even suggested that his name was a pseudonym for other writers. For "God's Revenge against Murder" see note on page 606.

Page 440. "The Arraignment of Paris." added to the song

In his Note-Book Lamb "Fair and True" Enone's words :

Sweet shepherd, for Enone's sake, be cunning in this song,
And keep thy love, and love thy choice, or else thou dost her wrong.

Page 443. V. N., to whom Lamb's letter was addressed, was, of course, Vincent Novello, the organist and composer. There is no record of Novello's having complied with Lamb's suggestion.

Page 464. "The Antipodes.' The manuscript copy of this instalment of the Garrick Extracts, No. XXXIV., contains the following crossed-out note on Brome :

"The writer of this Play had been a menial servant to Ben Jonson ; in what capacity we are not told; but if he had been his lowest scullion, or his hog rubber, or something worse, Ben could not have addressed more coarse and disgusting lines to him than he has done in what he was pleased to consider some Commendatory Verses' prefixed to one of Brome's Comedies. Ben was luckier in his Servants than in his Sons: for neither Randolph, Mayne nor Cartwright (so dubbed by him) in their comedy ever approached within a shadow of comparison to the exquisite felicity and pleasantry of this scene, in which the anti-natural is made positively natural and delightful. To Brome (besides other excellent Plays) the Public is indebted for the Jovial Crew, or the Merry Beggars,' which, made into an Opera, gave them so much satisfaction a few years since at the Lyceum. They will not easily (I shall not) forget Miss Kelly's Meriel."

Lamb had written of "The Jovial Crew," when it was revived at the Lyceum in 1819, in The Examiner (see Vol. I., page 186). On that occasion, however, Miss Kelly played Rachel, and Miss Stevenson Meriel.

Ben Jonson's verses, to which Lamb refers, were prefixed to The Northern Lasse, 1632. They are entitled "To my old Faithful Servant, and (by his continu'd Vertue) my loving Friend, the Author of this Work, Mr. Richard Brome." They hardly merit Lamb's strong words. The opening indeed is handsome, but the lines end with a sneer, to the effect that once

Page 470.

The Cobbler kept him to his mall, but now
He'll be a Pilot, scarce can guide a Plough.

"Querer por Solo Querer." Concerning the printing of this instalment in the Table Book Lamb wrote to Hone:

"Postscript

"Who is your compositor? I cannot praise enough the beauty and accuracy of the Garrick Play types. That of Zelidoura and Felisbravo, 2 or 3 Nos. Back, was really a poser. He must be no ordinary person who got thro' it (so quaint) without a slip. Not one in 10,000 would have done it."

In his Note-Book Lamb copied four more lines after the passage, "The True Absence in Love," on page 475; thus:—

QUERER POR SOLO QUERER

BANISH'D LOVER

But I love thee with all my heart,

Whom therefore thou canst never fly;

Since in whatever place thou art,

Thou'rt present to my fantasy.

Page 489. "Edward the Third." Certain resemblances in the text of this play and passages in Shakespeare lead to the belief that Shakespeare had a hand in it. Lamb's manuscript copy of this instalment, No. XXV., of the Garrick Extracts contains the following crossed-out note:"I wish to believe it to be old Heywood's: it bears his stamp and likelihood, as does more especially The Yorkshire Tragedy. Compare the latter with The Woman Killed with Kindness. But in those days there were, I was going to say, 'five hundred good as he.'"

Page 507. "A Woman's a Weathercock." The manuscript copy of this instalment of the Garrick Extracts, No. XXX., contains the following crossed-out note:

"The affected reluctance, and real curiosity, of Nevill to see the letter is to be vindicated by a presumption that he guessed at its contents and the falseness of them. The whole struggle between his friend to show it, and himself not to see it, is a vie of generosity (as these old playwriters would have called it) nobly plaid, and most nobly concluded.” Page 526. "Love's Dominion." Lamb placed some lines from the Invocation to Silence at the head of his Elia essay " A Quaker ́s Meeting.” Page 530. Lamb's footnote. The reference is to Edward Alleyn (1566-1626), the actor, and founder of Dulwich College. Heywood, in his Apology for Actors, 1612, says of him: "Among so many dead let me not forget one yet alive in his time the most worthy, famous, Maister Edward Allen;" and in his prologue to the "Rich Jew of Malta" (Cockpit, 1633) he says that the part of the Jew was "by the best of actors play'd."

Page 544. Footnote. "He damns the Town." This sentiment was appended not by Lamb, but by William Hone. The line is presumably an adaptation of Dryden's

He curses God, but God before cursed him.

Absalom and Achitophel, Part II., 467.

Page 545. Footnote. "Inexplicable dumb show" is Hamlet's phrase, III., ii., 13.

Page 568. Serious Fragment, No. 4. Lamb quotes this passage in his Elia essay "The Superannuated Man."

Page 571. Serious Fragment, No. 23. At the end of this extract, from "Fatal Jealousy," Lamb copied in his Note-Book two more lines :—

For they all doubt what they pretend to know,
And fear to mount lest they should fall below.

Page 588. Satiro-mastix. Fleay attempts to answer Lamb's query. In his Biographical Chronicle of the English Drama, 1891, Vol. I., pages 127-128, he suggests that the play is "The Life and Death of Captain Stukely." Decker, he writes, "had patched the play with half of one by Peele on the Moor Mahomet, and then published it." Unfortunately, "Captain Stukely," so far as is known, was not published before 1605, whereas Satiro-mastix was printed in 1602.

Page 588. Captain Hannam. Mr. Bullen thinks that the Captain is not to be found in any extant play. Possibly in one of those mentioned by Gayton in his Festivous Notes on Don Quixote.

EPILOGUE

CONSISTING OF MR. SWINBURNE'S SONNET SEQUENCE

ON THE OLD DRAMATISTS, FROM TRISTRAM OF
LYONESSE