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195: 16. Schlegel (1767-1845), German poet and critic, translator of Shakespeare.

195: 23. Coleridge (1772-1834), English poet and critic; Lectures on Shakespeare.

195:23. Goethe (1749-1832), German poet, critic, and romancer. His criticisms on Shakespeare may be found in his Autobiography, Conversations with Eckermann, and Wilhelm

Meister.

196: 6. Blackfriars' Theatre. A famous London playhouse, founded about 1596.

197:8. Malone, Warburton, Dyce, etc. Commentators on Shakespeare.

197: 10. Betterton, Garrick, Kemble, etc. Actors who have become famous in their interpretation of Shakesperean rôles.

197: 17. The Hamlet of a famed performer, etc. This was Macready, whom Emerson saw in America in 1848-49, just before the publication of this essay. May it not have been the actor's art which made Hamlet's question to the Ghost stand out so clear and vivid ?

198: 6. Forest of Arden. The scene of As You Like It. 198: 6. Scone Castle. Emerson refers to the castle of Macbeth (i. 6), which was at Inverness, not Scone.

..

198: 7. Portia's villa. Belmont, The Merchant of Venice, i. 2. 198: 21. Tripod . inspirations. The tripod at Delphi was a bronze altar, on three legs, standing over a cleft in the floor of the temple. Here the priestess sat when she was about to deliver the inspired oracle of Apollo.

199: 6. Aubrey and Rowe. John Aubrey was an English antiquary and collector of anecdotes. Nicholas Rowe edited Shakespeare badly in 1709.

199:27. Timon. A Greek misanthrope of the fifth century, B.C.; the principal character in Shakespeare's Timon of Athens.

199: 28. Warwick. Richard Neville, Earl of Warwick, a leading character in King Henry the Sixth.

199:28. Antonio. The princely merchant from whom The Merchant of Venice takes its name.

200: 8. As Talma taught Napoleon. A French actor (17831826); intimate friend and counsellor of Napoleon I.

201 : 17. As of Drama or Epic. Here is an illustration of Emerson's defect as a critic. For the dramatic form conditions the expression of Shakespeare's wisdom, - what he says through the mouth of Iago is quite different from what he says in the character of Hamlet.

203: 18. Daguerre (1789-1851), a French painter who invented, in 1839, a process of making pictures by the action of sunlight on a plate prepared with iodine; they were called daguerreotypes.

203: 24. The possibility is demonstrated. Here is an example of extravagant and rhetorical criticism. Emerson writes as if Shakespeare were the first to prove "the possibility of the translation of things into song." But this is to leave out Homer and Euripides, Virgil and Dante, Chaucer and Marlowe, and a host of others.

204: 8. Euphuism. An affected literary style, named from John Lyly's Euphues (1579). Emerson uses the wrong word: what he means is "euphony," that is, the real beauty and melody of Shakespeare's diction. Euphuism is caricatured in Love's Labour's Lost.

205: 9. Epicurus (342-270 B.C.), a Greek philosopher who taught that pleasure is the end of rational life, and that the highest pleasure is freedom.

206: 22. Koran. The sacred scripture of the Mohammedans, which is supposed to contain the revelations made by God to Mohammed, and delivered by him at Mecca and Medina.

207: 2. Egyptian verdict of the Shakespeare Societies. Perhaps this refers to the Egyptian custom of bringing in a skeleton at a banquet, to remind the guests, "You are all mortal."

GIFTS

212:22. The Furies. Female divinities, in the Greek mythology, who punished men for iniquity. Alecto, "the unresting"; Megæra, "the jealous"; and Tisiphone, "the avenger."

212: 28. The only gift is a portion of thyself. Compare Lowell's Vision of Sir Launfal.

B.C.

"The gift without the giver is bare.

Who gives himself with his alms feeds three, -
Himself, his hungering neighbour, and me."

214: 25. Timon. An Athenian who lived in the fifth century, He gave away all his property to his professed friends, who thereupon forsook him and would have nothing to do with him. This changed him into a misanthrope.

215: 3. Buddhist. A follower of the Indian sage who lived in the fifth century, B.C., and taught his disciples that the way of salvation is the renunciation of all personal desire.

215:17. We can seldom hear the acknowledgments, etc. Compare Wordsworth's poem, Simon Lee.

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BIBLIOGRAPHY

STANDARD TEXT: Emerson's Complete Works: Riverside Edition, II volumes; edited by J. E. Cabot, Boston, 1883-1884.

LIFE AND LETTERS: A Memoir of Ralph Waldo Emerson: by J. E. Cabot. (The authorized biography.) 2 vols., Boston, 1887. The Correspondence of Thomas Carlyle and Ralph Waldo Emerson: edited by Charles Eliot Norton, Boston, 1883. Correspondence between John Sterling and Ralph Waldo Emerson: Boston, 1897. Ralph Waldo Emerson : by Oliver Wendell Holmes (American Men of Letters Series), Boston, 1885. Life of Ralph Waldo Emerson: by Richard Garnett (Great Writers Series), London, 1888. Ralph Waldo Emerson, His Life, Writings, and Philosophy : by George Willis Cooke, Boston, 1881. Ralph Waldo Emerson, His Life, Genius and Writings: by Alexander Ireland, London, 1882.

CRITICISMS AND PERSONAL SKetches: Ralph Waldo Emerson, Philosopher and Seer : by A. Bronson Alcott, Boston, 1882. Emerson at Home and Abroad: by Moncure D. Conway, Boston, 1882. The Genius and Character of Emerson; Lectures at the Concord School of Philosophy: edited by F. B. Sanborn, Boston, 1885. Emerson in Concord: By Edward Waldo Emerson, Boston. 1889. Emerson as a Poet: by Joel Benton, New York, 1883. Contemporaries: by Thomas Wentworth Higginson, Boston, 1899. My Literary Friends and Acquaintances: by W. D. Howells, New York, 1900. Discourses in America: by Matthew Arnold, London, 1885. Talks with Emerson: by C. J. Woodbury, Boston, 1890. Literary and Social Essays : by George William Curtis, New York, 1891. Modern HumanCritical Miscel

ists: by T. M. Robertson, London, 1891.
lanies: by John Morley, London, 1893. New Essays: by
Hermann Grimm, Berlin, 1865. Emerson and other Essays:
by J. J. Chapman, New York, 1898.

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