_Harry, I do not_. ii, 4, 439. P. 94. _What is the gross sum_. 2 "Henry IV," ii, 1, 91. P. 95. _Would I were with him_. "Henry V," ii, 3, 6. _turning his vices_. Cf. 2 "Henry IV," i, 2, 277: "I will turn diseases to commodity." _their legs_. Ibid., ii, 4, 265. _a man made after supper_. Ibid., iii, 2, 332. _Would, Cousin Silence_. Ibid., iii, 2, 225. _I did not think_. Ibid., v, 3, 40. _in some authority_. Ibid., v, 3, 117. _You have here_. Ibid., v, 3, 6. TWELFTH NIGHT P. 96. _It aims at the ludicrous._ Cf. Hazlitt's remark in the Characters on "Much Ado About Nothing": "Perhaps that middle point of comedy was never more nicely hit in which the ludicrous blends with the tender, and our follies, turning round against themselves in support of our affections, retain nothing but their humanity." P. 97. _William Congreve_ (1670-1729), _William Wycherley_ (1640-1716), _Sir John Vanbrugh_ (1664-1726), the chief masters of Restoration Comedy. P. 98. _high fantastical_. i, 1, 15. _Wherefore are these things hid_. i, 3, 133. _rouse the night-owl_. ii, 3, 60. _Dost thou think_. ii, 3, 123. P. 99. _We cannot agree with Dr. Johnson._ See p. 49 and n. _What's her history_. ii, 4, 12. _Oh it came o'er_. i, 1, 5. P. 100. _They give a very echo_. ii, 4, 21. _Blame not this haste_. iv, 3, 22. The essay concludes with the quotation of one of the songs and Malvolio's reading of the letter. MILTON P. 101. _Blind Thamyris_. "Paradise Lost," III, 35. P. 102. _with darkness_. VII, 27. _piling up every stone_. XI, 324. _For after I had from my first years_. "The Reason of Church Government," Book II, Introduction. P. 103. _The noble heart_. "Faerie Queene," I, v, 1. P. 104. _makes Ossa like a wart_. "Hamlet," v, 1, 306. _Him followed Rimmon_. "Paradise Lost," I, 467. _As when a vulture_. III, 431. P. 105. _the pilot_. I, 204. _It has been indeed objected to Milton_. Cf. Coleridge (Works, ed. Shedd, IV, 304): "Milton is not a picturesque, but a musical, poet"; also Coleridge's "Table Talk," August 7, 1832: "It is very remarkable that in no part of his writings does Milton take any notice of the great painters of Italy, nor, indeed, of painting as an art; while every other page breathes his love and taste for music.... Adam bending over the sleeping Eve, in Paradise Lost, and Dalilah approaching Samson, in the Agonistes, are the only two proper pictures I remember in Milton." _Like a steam_. "Comus," 556. P. 106. _He soon saw_. "Paradise Lost," III, 621. P. 107. _With Atlantean shoulders_. II, 306. _Lay floating_. I, 296. _Dr. Johnson condemns the Paradise Lost._ See the conclusion of his "Life of Milton." P. 108. _His hand was known_. "Paradise Lost," I, 732. _But chief the spacious hall_. I, 762. P. 109. _Round he surveys_. III, 555. _Such as the meeting soul_. "L'Allegro." _the hidden soul_. Ibid. P. 110. _as Pope justly observes_. "First Epistle of the Second Book of Horace," 102.