_Satan's address to the sun_. "Paradise Lost," IV, 31. _Oh that I were_. "Richard II," iv, 1, 260. P. 44. _His form_. "Paradise Lost," I, 591-594. P. 45. _With what measure_. Mark, iv, 24; Luke, vi, 38. _It glances_. "Midsummer Night's Dream," v, 1, 13. _puts a girdle_. Ibid., ii, 1, 175. _I ask_. "Troilus and Cressida," i, 3, 227. _No man_. Ibid., iii, 3, 15. P. 46. _Rouse yourself_. Ibid., iii, 3, 222. _In Shakspeare, any other word_, etc. In the essay "On Application to Study," in the "Plain Speaker," Hazlitt gives further illustrations of this point. P. 47. _Light thickens_. "Macbeth," iii, 2, 50. _the business of the state_. "Othello," iv, 2, 166. _Of ditties highly penned_. 1 "Henry IV," iii, 1, 209. _And so_. "Two Gentlemen of Verona," ii, 7, 31. _The universality of his genius_, etc. Cf. "On Gusto," "Round Table": "The infinite quality of dramatic invention in Shakspeare takes from his gusto. The power he delights to show is not intense, but discursive. He never insists on anything as much as he might, except a quibble." P. 48. _He wrote for the great vulgar_, etc. The same remark had been made by both Pope and Johnson. See Nichol Smith's "Eighteenth Century Essays on Shakespeare," pp, 49 and 141. _the great vulgar and the small_. Cowley's "Translation of Horace's Ode III, i." _his delights_. "Antony and Cleopatra," v, 2, 88. P. 49. _His tragedies are better than his comedies._ Hazlitt is here deliberately opposing the view of Dr. Johnson expressed in the latter's preface to Shakespeare: "In tragedy he often writes with great appearance of toil and study, what is written at last with little felicity; but in his comick scenes, he seems to produce without labour, what no labour can improve. In tragedy he is always struggling after some occasion to be comick, but in comedy he seems to repose, or to luxuriate, as in a mode of thinking congenial to his nature. In his tragick scenes there is always something wanting, but his comedy often surpasses expectation or desire." (Nichol Smith's "Eighteenth Century Essays on Shakespeare," p. 121.) In the second lecture of the "English Comic Writers," Hazlitt recurs to this opinion of Johnson's with the following comment: "For my own part, I so far consider this preference given to the comic genius of the poet as erroneous and unfounded, that I should say that he is the only tragic poet in the world in the highest sense, as being on a par with, and the same as Nature, in her greatest heights and depths of action and suffering. There is but one who durst walk within that mighty circle, treading the utmost bound of nature and passion, showing us the dread abyss of woe in all its ghastly shapes and colours, and laying open all the faculties of the human soul to act, to think, and suffer, in direst extremities; whereas I think, on the other hand, that in comedy, though his talents there too were as wonderful as they were delightful, yet that there were some before him,