_to him and all_, "to all and him." iii, 4, 91. _Avaunt and quit my sight_. iii, 4, 93. _himself again_. Cf. iii, 4, 107: "being gone, I am a man again." _he may sleep_. iv, 1, 86. _Then be thou jocund_. iii, 2, 40. _Had he not resembled_. ii, 2, 13. _should be women_. i, 3. 45. _in deeper consequence_. i, 3, 126. _Why stands_. iv, 1, 125. P. 68. _He is as distinct a being_, etc. Cf. Pope (Nichol Smith's "Eighteenth Century Essays," p. 48): "Every single character in Shakespeare is as much an individual as those in life itself; it is impossible to find any two alike; and such as from their relation or affinity appear most to be twins, will upon comparison be found remarkably distinct." Beattie also had commented on "that wonderfully penetrating and plastic faculty, which is capable of representing every species of character, not as our ordinary poets do, by a high shoulder, a wry mouth, or gigantic stature, but by hitting off, with a delicate hand, the distinguishing feature, and that in such a manner as makes it easily known from all others whatsoever, however similar to a superficial eye." (Quoted in Drake's "Memorials of Shakespeare," 1828, p. 255.) Richard Cumberland had developed a parallel between Macbeth and Richard III in the Observer, Nos. 55-58, but it is to the suggestion of Thomas Whateley that Hazlitt is chiefly indebted. Both Richard III and Macbeth, says Whateley, "are soldiers, both usurpers; both attain the throne by the same means, by treason and murder; and both lose it too in the same manner, in battle against the person claiming it as lawful heir. Perfidy, violence, and tyranny are common to both; and these only, their obvious qualities, would have been attributed indiscriminately to both by an ordinary dramatic writer. But Shakespeare, in conformity to the truth of history as far as it led him, and by improving upon the fables which have been blended with it, has ascribed opposite principles and motives to the same designs and actions, and various effects to the operation of the same events upon different tempers. Richard and Macbeth, as represented by him, agree in nothing but their fortunes." (See the Variorum edition of "Richard III," p. 549.) Hazlitt makes similar discriminations between the characters of Iago and Richard III, between Henry VI and Richard II, and between Ariel and Puck. _the milk of human kindness_. i, 5, 18. _himself alone_. Cf. 3 "Henry VI," v, 6, 83: "I am myself alone." P. 69. _For Banquo's issue_. iii, 1, 65. _Duncan is in his grave_. iii, 2, 22. _direness is rendered familiar_. v, 5, 14. _troubled with thick coming fancies_. v, 3, 38. P. 70. _subject to all_. "Measure for Measure," iii, 1, 9. _My way of life_. v, 3, 22. P. 71. _Lillo_, George (1693-1739), author of several "bourgeois" tragedies of which the best known is "George Barnwell" (1731). _Specimens of Early English Dramatic Poets_ by Charles Lamb, 1808. (Works, ed. Lucas, IV, 144.) IAGO