329. ‘_No babies._’ ‘I am no baby.’ _Titus Andronicus_, Act V. Sc. 3.
FLAXMAN’S LECTURES ON SCULPTURE
A review of John Flaxman’s (1755–1826) _Lectures on Sculpture_ (1829).
The review was republished in _Criticisms on Art_ (1843–4) and in
_Essays on the Fine Arts_ (1873). Flaxman had been professor of
sculpture at the Royal Academy from 1810. In his _Memoirs of William
Hazlitt_ (II. 269) Mr. W. C. Hazlitt gives a number of marginal notes
made by Hazlitt upon his copy of Flaxman’s Lectures probably with a view
to this article.
PAGE
335. _Torregiano._ Pietro Torrigiano (c. 1470–1522), the Florentine
sculptor who broke Michael Angelo’s nose. He came to England in
1509.
‘_A city_,’ _etc._ _S. Matthew_, V. 14.
336. ‘_High and palmy._’ _Hamlet_, Act I. Sc. 1.
‘_Growing with its growth._’ Pope, _Essay on Man_, II. 136.
341. _Sir Anthony Carlisle._ Sir Anthony Carlisle (1768–1840), the
surgeon, studied for a time at the Royal Academy, and wrote an
essay ‘On the Connection between Anatomy and the Fine Arts,’ to
which Hazlitt probably refers.
344. ‘_To make Gods_,’ _etc._ Cf. _Genesis_, i. 26.
‘_Hitherto_,’ _etc._ _Job_, xxxviii. 11.
345. ‘_The labour_,’ _etc._ _Macbeth_, Act II. Sc. 3.
348. ‘_Shreds and patches._’ _Hamlet_, Act III. Sc. 4.
‘_Upon her eyebrows_,’ _etc._ _The Faerie Queene_, Book II. Canto
III. St. 25.
349. ‘_By their own beauty_,’ _etc._ Cf. ‘By our own spirits are we
deified.’ Wordsworth, _Resolution and Independence_, 47.
350. ‘_The scale_,’ _etc._ Cf. _Paradise Lost_, VIII. 591–592.
351. _Incendio del Borgo._ Raphael’s fresco in the Vatican.
WILSON’S LIFE AND TIMES OF DANIEL DEFOE
Walter Wilson’s (1781–1847) _Memoirs of the Life and Times of Daniel
Defoe_ was published in 3 vols. in 1830.
PAGE
355. _Tutchin and Ridpath._ John Tutchin (1661?–1707) and George
Ridpath (d. 1726), two Whig contemporaries of Defoe, successive
editors of _The Observator_.
_Dispraise of the Beggars’ Opera._ See Wilson’s _Memoirs, etc., of
Defoe_, III. 595–596.
356. ‘_Excellent iteration in him._’ Cf. _Henry IV._, Part I. Act I.
Sc. 2.
_As honest Hector Macintyre, etc._ See _The Antiquary_, chap. XX.
‘_Thinly scattered_,’ _etc._ _Romeo and Juliet_, Act V. Sc. 1.
_Rari nantes, etc._ _Æneid_, I. 118.
356. ‘_I remember my grandfather_,’ _etc._ Wilson’s _Memoirs, etc., of
Defoe_, I. 6, and Defoe’s _Review_, vii. Pref.
357. _Mr. Samuel Wesley._ Samuel Wesley the elder (1662–1735), whose
attack on the education of the Dissenters (1703) engaged him in
a controversy.
_Shortest Way with the Dissenters._, 1702.
358. _Harley._ Robert Harley, Earl of Oxford (1661–1724).
‘_Heaven lies about us_,’ _etc._ Wordsworth, Ode, _Intimations of
Immortality_, 66.
‘_Poor Robinson Crusoe_,’ _etc._ _Robinson Crusoe_, Section XV.
358. _True-born Englishman._ 1701.
_Review._ 1704–1713.
_Essays on Trade._ Defoe wrote several tracts on the subject of
trade.
360. _Legion Petition._ ‘Legion’s Memorial’ to the House of Commons in
reference to the Kentish Petition of 1701. A second Memorial
appeared in the following year.
‘_Heaping coals of fire_,’ _etc._ _Romans_, xii. 20.
‘_Stuff of the conscience._’ _Othello_, Act I. Sc. 2.
‘_A foregone conclusion._’ _Othello_, Act III. Sc. 3.
361. _Toland._ John Toland (1670–1722), the deist.
362. Note. See Wilson’s _Memoirs, etc., of Defoe_, I. 73 note.
363. ‘_There goes a very honest gentleman_,’ _etc._ According to Madame
de La Fayette (_Mémoires de la Cour de France_), it was Louvois’
brother, the Archbishop of Rheims, who, on seeing James come
from Mass, said: ‘Voilà un fort bon homme, il a quitté trois
royaumes pour une messe.’
_Dr. Sherlock._ William Sherlock (1641?–1707), one of the
non-jurors for a short time after the Revolution.
364. _An eloquent passage._ See Wilson’s _Memoirs, etc., of Defoe_, I.
76–77 and Defoe’s _Review_, IV. 643–644.
_The Exclusion Bill._ Passed by the House of Commons and rejected
by the House of Lords, 1680.
_A very curious account._ Wilson’s _Memoirs, etc., of Defoe_, I.
156 _et seq._
366. _His Complete Tradesman._ _The Complete English Tradesman_, 1727.
367. ‘_To keep their seats firm._’ _Reflections on the Revolution in
France_ (_Select Works_, ed. Payne, II. 97).
‘_The fate of James_,’ _etc._ Wilson’s _Memoirs, etc., of Defoe_,
I. 162–163.
368. ‘_Courage had been screwed_,’ _etc._ Cf. _Macbeth_, Act I. Sc. 7.
_An Address to the Dissenters._ This pamphlet (1687) seems to have
been Bishop Burnet’s. See Lee’s _Life of Defoe_ and _Notes and
Queries_, 4th Ser. IV. 253, 307.
_The Marquis of Halifax._ George Savile, Marquis of Halifax
(1633–1695). The pamphlet referred to by Hazlitt appeared in
1686.
369. _An early Piece._ Lee (_Life of Defoe_, I. 15) regards this piece
(1683) and _Speculum Crape-gownorum_ (1682) as spurious.
_Lives of the Philipses._ William Godwin’s _Lives of Edward and
John Philips_, 1815.
Note. _An Appeal to Honour and Justice._ 1715.
370. ‘_The Hortus Siccus of Dissent._’ _Reflections on the Revolution
in France_ (_Select Works_, ed. Payne, II. 14).
_Oldmixon._ John Oldmixon (1673–1742), whose _History of England
during the Reign of the Royal House of Stuart_ was published in
3 vols. 1729–1739.
371. ‘_Though that his joy_,’ _etc._ _Othello_, Act I. Sc. 1.
372. ‘_Not pierceable_‘, _etc._ Cf. ‘Not perceable with power of any
starr.’ _The Faerie Queene_, Book I. Canto I. St. 7.
373. ‘_Speaking a word_,’ _etc._ Cf. _Proverbs_, XV. 23.
374. _Sacheverell._ Henry Sacheverell (1674–1724). The sermon referred
to was preached before the University of Oxford on June 2, 1702.
See Wilson’s _Memoirs, etc. of Defoe_, II. 27–28.
‘_So should his anticipation_,’ _etc._ _Hamlet_, Act II. Sc. 2.
375. _A Hymn to the Pillory._ 1703.
‘_See where on high_,’ _etc._ ‘Earless on high stood unabash’d De
Foe.’ _The Dunciad_, II. 147.
‘_Dishonour, honourable._’ Cf. ‘Honour dishonourable.’ _Paradise
Lost_, IV. 314.
‘_Condemned to everlasting fame._’ ‘Damned to everlasting fame.’
Pope, _Essay on Man_, IV. 284.
‘_Oh soul supreme_,’ _etc._ Pope, _Moral Essays_, Epistle V.
23–24.
‘_The fellow that was pilloried._’ See Swift’s _A Letter from a
Member of the House of Commons in Ireland, to a Member of the
House of Commons in England, concerning the Sacramental Test_
(1709).
‘_The superficial part of learning._’ Gay, in his _Present State
of Wit_ (1711), spoke of Defoe as a ‘fellow, who had excellent
natural parts, but wanted a small foundation of learning.’
376. ‘_Flying to others_,’ _etc._ Hamlet, Act III. Sc. 1.
376. ‘_Why troublest thou_,’ _etc._ Cf. ‘Art thou come hither to
torment us before the time?’ _S. Matthew_, viii, 29.
377. _William Benson._ William Benson (1682–1754). Defoe was prosecuted
and imprisoned for his anti-Jacobite tracts of 1713, _Reasons
against the Succession of the House of Hanover, etc._
‘_The force of dulness_,’ _etc._ Cf. Dryden, _Lines printed under
the Engraved Portrait of Milton_, 5.
378. _His History of that event._ _History of the Union of Great
Britain_, 1709.
_Apology for the Massacre of Glencoe._ In Defoe’s _History of the
Union_, 4to. edition, pp. 68–73.
‘_Hamlet, Prince of Denmark_,’ _etc._ See Wilson’s _Memoirs, etc.,
of Defoe_, II. 457.
379. _His novels._ Those referred to by Hazlitt are _Moll Flanders_,
1721; _Roxana_, 1724; _Captain Singleton_, 1720; _Colonel Jack_,
1722; and _Memoirs of a Cavalier_, 1720.
_The Family Instructor._ 1715–1718.
‘_Meddling with the unclean thing._’ Cf. _2 Corinthians_, VI. 17.
380. ‘_All the fore-end of his time._’ _Cymbeline_, Act III. Sc. 3.
‘_Vice, by losing_,’ _etc._ Burke, _Reflections on the Revolution
in France_ (_Select Works_, ed. Payne, II. 89).
‘_Purple light._’ Cf. ‘The bloom of young Desire and purple light
of Love.’ Gray, _The Progress of Poesy_, 41.
381. _What Mr. Lamb says, etc._ See Lamb’s ‘Estimate of De Foe’s
Secondary Novels,’ written for Wilson’s _Life of Defoe_ (III.
636). The paper is reprinted in _The Works of Charles and Mary
Lamb_, ed. E. V. Lucas, I. 325–327.
382. _Imposed upon Lord Chatham._ See Wilson’s _Memoirs, etc., of
Defoe_, III. 509.
_History of Apparitions._ _An Essay on the History and Reality of
Apparitions_, 1727.
‘_Call spirits_,’ _etc._ _Henry IV._, Part I., Act III. Sc. 1.
_History of the Plague._ _Journal of the Plague Year_, 1722.
MR. GODWIN
This was ostensibly a review of _Cloudesley_, published in 1830. Some
years previously Sir James Mackintosh had suggested that Hazlitt should
be asked to review Godwin’s novels. Towards the end of 1823 he wrote to
Godwin: ‘I see your novels advertised to-day. Could you ask Mr. Hazlitt
to review them in the _Edinburgh Review_. He is a very original thinker,
and notwithstanding some singularities which appear to me faults, a very
powerful writer. I say this, though I know he is no panegyrist of mine.
His critique might serve all our purposes, and would, I doubt not,
promote the interests of literature also.’ (C. Kegan Paul, _William
Godwin: His Friends and Contemporaries_, II. 289.) The _Edinburgh_ had
reviewed Godwin’s _Fleetwood_ (vol. VI. p. 182), and had praised _Caleb
Williams_ very highly in a review of the _Lives of Edward and John
Philips_ (XXV. p. 485). Cf. Hazlitt’s sketch of Godwin in _The Spirit of
the Age_, vol. IV. pp. 200 _et seq._, and notes.
PAGE
385. _Dramatised._ _Caleb Williams_ was dramatised by George Colman the
younger as _The Iron Chest_. See vol. VIII. (_A View of the
English Stage_), p. 342.
386. ‘_Seemed like another morn_,’ _etc._ _Paradise Lost_, V. 310–311.
‘_Even in his ashes_,’ _etc._ Cf. Gray, _Elegy written in a
Country Church-Yard_, 92.
387. _Otium cum dignitate._ Cicero, _Pro Sestio_, XLV. 98.
‘_Retired leisure_,’ _etc._ _Il Penseroso_, 49–50.
387. _Horas non numero, etc._ The motto of a sun-dial near Venice. See
Hazlitt’s essay ‘On a Sun-Dial.’
‘_The iron rod_,’ _etc._ Vaguely quoted from _Paradise Lost_, II.
90–92.
‘_Stretched upon the rack_,’ _etc._ Cf. _Macbeth_, Act III. Sc. 2.
‘_And like a gallant horse_,’ _etc._ _Troilus and Cressida_, Act
III. Sc. 3.
_There is only one living writer._ Scott, no doubt.
388. ‘_O let not virtue_,’ _etc._ Loosely quoted from _Troilus and
Cressida_, Act III. Sc. 3.
‘_To elevate and surprise._’ The Duke of Buckingham’s _The
Rehearsal_, Act I. Sc. 1.
‘_Takes an inventory._’ Ben Jonson, _The Alchemist_, Act III. Sc.
2.
391. ‘_A pass of wit._’ Cf. ‘Wit shall not go unrewarded while I am
king of this country. “Steal by line and level” is an excellent
pass of pate.’ _The Tempest_, Act IV. Sc. 1.
‘_O’ersteps_,’ _etc._ _Hamlet_, Act III. Sc. 2.
392. _Annesley._ Hazlitt refers to the well-known case of James
Annesley (1715–1760), who claimed to be the legitimate son and
heir of Lord Altham. The story will be found in Howell’s _State
Trials_ (vols. XVI. and XVII.), and has been used by other
novelists besides Godwin. See _Peregrine Pickle_ (chap. 98)
and Charles Reade’s _The Wandering Heir_. Godwin, in the
advertisement to _Cloudesley_, says: ‘It is but just that the
reader should be informed that a novel has been already written
on this theme, and printed in the year 1743, under the title of
“Memoirs of an unfortunate young Nobleman, Returned from a
Thirteen Years’ Slavery in America.”’ This is presumably the
work referred to by Hazlitt as ‘a novel with the title of
_Annesley_.’ In 1756 appeared _The Case of the Honourable J. A.,
humbly offered to all lovers of truth and justice_.
‘_Mark and likelihood._’ _Henry IV._, Part I., Act III. Sc. 2.
393. _Multum abludit imago._ Horace, _Satires_, II. 3, 320.
‘_Subject_ [servile] _to all_,’ _etc._ _Measure for Measure_, Act
III. Sc. 1.
‘_A fiery soul_,’ _etc._ Dryden, _Absalom and Achitophel_, I.
156–158.
394. ‘_But the lees_,’ _etc._ Loosely quoted from _Macbeth_, Act II.
Sc. 3.
‘_After a thousand victories_,’ _etc._ Shakespeare, Sonnet XXV.
‘_A great man’s memory_,’ _etc._ Cf. _Hamlet_, Act III. Sc. 2.
395. ‘_At first no bigger_,’ _etc._ Cf. _S. Matthew_, xiii. 31.
397. ‘_A consummation_,’ _etc._ _Hamlet_, Act III. Sc. 1.
‘_The scale by which we ascend._’ Cf. _Paradise Lost_, VIII.
591–592.
398. ‘_Reaches the verge_,’ _etc._ Cf. Pope, _Moral Essays_, II. 52.
399. _His New Man of Feeling._ _Fleetwood; or, The New Man of Feeling_,
1805.
_Mandeville._ 1817.
_Life of Chaucer._ 1803.
_Essay on Sepulchres._ 1809.
_Mr. Malthus’s theory._ See vol. IV. (_The Spirit of the Age_), p.
296.
400. _Sermons._ _Sketches of History, in Six Sermons_, 1784.
_An English Grammar._ The grammar was written by Hazlitt himself
and published by Mrs. Godwin at the Skinner Street house. See
vol IV., Bibliographical Note on p. 388. It contained a letter
written by Godwin under the pseudonym of Edward Baldwin.
Printed by T. and A. CONSTABLE, Printers to His Majesty
at the Edinburgh University Press
-----
Footnote 1:
We have not forgotten Defoe as one of our own writers. The author of
Robinson Crusoe was an Englishman; and one of those Englishmen who
make us proud of the name.
Footnote 2:
See, among a thousand instances, the conclusion of the story of
Geneura.—‘And all that day we read no more!’
Footnote 3:
The late Mr. Burke was a writer of a very splendid imagination, and
great command of words. This was, with many persons, a sufficient
ground for concluding that he was a mere rhetorician, without depth of
thought or solidity of judgment.
Footnote 4:
‘Gli occhi di ch’io parlai si caldamente
E le braccia, e le mani, e i piedi, e ‘l viso
Che m’ havean si da me stesso diviso,
E fatto singular fra l’ altra gente;
Le crispe chiome d’ or puro lucente,
E ‘l lampeggiar de l’ angelico riso,
Che solean far in terra un paradiso,
Poco pulvere son che nulla sente!
Ed io pur vivo! onde mi doglio e sdegno.
Rimaso senza ‘l lume, ch’ amai tanto,
In gran fortuna, e ‘n disarmato legno.
Or sia qui fine al mio amoroso canto.
Secca e la vena de l’ usato ingegno
E la cetera mia rivolta in pianto.’
Literally as follows. ‘Those eyes of which I spoke so warmly, and the
arms, and the hands, and the feet, and the face, which have robbed me
of myself, and made me different from others; those crisped locks of
pure shining gold, and the lightning of that angelical smile, which
used to make a heaven upon earth, are now a little dust which feels
nothing!—And I still remain! whence I lament and disdain myself, left
without the light which I loved so much, in a troubled sea, and with
dismantled bark. Here then must end all my amorous songs. Dry is the
vein of my exhausted genius, and my lyre answers only in
lamentations!’
Footnote 5:
The universality of Shakespear’s genius has, perhaps, been a
disadvantage to his single works: the variety of his resources has
prevented him from giving that intense concentration of interest to
some of them which they might have had. He is in earnest only in Lear
and Timon. He combined the powers of Æschylus and Aristophanes, of
Dante and Rabelais, in his own mind. If he had been only half what he
was, he might have seemed greater.
Footnote 6:
Do not publications generally find their way there, without a
_direction_? R.
Footnote 7:
Why to Great Britain alone? R.
Footnote 8:
‘Multiscience (or a variety and quantity of acquired knowledge) does
not teach intelligence. But the Sibyll with wild enthusiastic mouth
shrilling forth unmirthful, inornate, and unperfumed truths, reaches
to a thousand years with her voice through the power of God.’
Footnote 9:
With all proper allowances for the effects of the Mundungus, we must
say that this answer appears to us very curiously characteristic of
the exaggerated and canting tone of this poet and his associates. A
man may or may not think time misemployed in reading newspapers:—but
we believe no man, out of the Pantisocratic or Lake school, ever
dreamed of denouncing it as unchristian and impious—even if he had not
himself begun and ended his career as an Editor of newspapers. The
same absurd exaggeration is visible in his magnificent eulogium on the
conversational talents of his Birmingham Unitarians.
Footnote 10:
See his criticisms on Bertram, vol. II., reprinted from the Courier.
Footnote 11:
We are aware that time conquers even nature, and that the characters
of nations change with a total change of circumstances. The modern
Italians are a very different race of people from the ancient Romans.
This gives us some chance. In the decomposition and degeneracy of the
sturdy old English character, which seems fast approaching, the mind
and muscles of the country may be sufficiently relaxed and softened to
imbibe a taste for all the refinements of luxury and show; and a
century of slavery may yield us a crop of the Fine Arts, to be soon
buried in sloth and barbarism again.
Footnote 12:
This name, for some reason or other, does not once occur in these
Memoirs.
Footnote 13:
The Editor of the Englishman for many years was a Mr. Radcliffe. He
had been formerly attached to some of our embassies into Italy, where
his lady accompanied him; and here she imbibed that taste for
picturesque scenery, and the obscure and wild superstitions of
mouldering castles, of which she has made so beautiful a use in her
Romances. The fair authoress kept herself almost as much _incognito_
as the Author of Waverley; nothing was known of her but her name in
the title-page. She never appeared in public, nor mingled in private
society, but kept herself apart, like the sweet bird that sings its
solitary notes, shrowded and unseen.
Footnote 14:
Many of these articles (particularly the Theatrical Criticism) are
unavoidably written over night, just as the paper is going to the
press, without correction or previous preparation. Yet they will often
stand a comparison with more laboured compositions. It is curious,
that what is done at so short a notice should bear so few marks of
haste. In fact, there is a kind of _extempore_ writing, as well as
_extempore_ speaking. Both are the effect of necessity and habit. If a
man has but words and ideas in his head, he can express himself in a
longer or a shorter time (with a little practice), just as he has a
motive for doing it. Where there is the necessary stimulus for making
the effort, what is given from a first impression, what is struck off
at a blow, is in many respects better than what is produced on
reflection, and at several heats.
Footnote 15:
One of Mr. Landor’s refinements in spelling.
Footnote 16:
‘Calculating the prices of provisions, and the increase of taxes, the
poet-laureate, in the time of Elizabeth, had about four times as much
as at present: so that Cecil spoke reasonably, Elizabeth
royally.’—_Note by the Author._
We were unwilling to suppress this hint for the increase of the
laureate’s salary, considering how worthily the situation is filled at
present; and Mr. Landor’s recommendation must be peremptory at court.
We observe that our author’s spelling of the word ‘laureate’ is the
same as Mr. Southey’s. Is the latter indebted to the same source for
the learned Orientalism of _Tâtar_ for Tartar? What a significant age
we live in! How many extravagant conclusions and false assumptions
lurk under that one orthoepy! He who innovates in things where custom
alone is concerned, must be proof against its suggestions in all other
cases; and when reason and fancy come into play, must indeed be a law
to himself.
Footnote 17:
We do not see this question in the same point of view as our author.
By his leave (as a mere general and speculative question), the
conquerors become amalgamated with the conquered: barbarism becomes
civilized. The claim of tyrants to rule over slaves is the only
principle that is eternal. These are the only two races, whose
interests are never reconciled.
Footnote 18:
‘Ææa, the island of Circe.’
Footnote 19:
‘The viper was the armorial device of the Visconti, tyrants of Milan.’
Footnote 20:
Lectures on the Dramatic Literature of the Age of Elizabeth.
Footnote 21:
‘The pavilions of the Caliphs of Bagdad were not so deliciously
placed, nor so sumptuously raised, as this retreat of the self-denying
brotherhood of the Certosa. It was founded in the fourteenth century
by Charles, son of Robert of Arragon, King of Naples.’
Footnote 22:
Evelyn, who visited Naples about this time, observes that ‘the country
people are so jovial and so addicted to music, that the very
husbandmen almost universally play on the guitar, singing and
accompanying songs in praise of their sweethearts, and will commonly
go to the field with their fiddle. They are merry, witty, and genial,
all of which I attribute to their ayre.’—_Memoirs_, vol. I.
Footnote 23:
‘Among the women were the Signorine Leonora and Caterina, who were
never heard but with rapture’ (says Della Valle, a contemporary of
Salvator, in speaking of the female musicians of this time)
‘particularly the elder who accompanied herself on the arch lute. I
remember their mother in her youth, when she sailed in her felucca
near the grotto of Pausilippo, with her golden harp in her hand; but
in our times these shores were inhabited by syrens, not only beautiful
and tuneful, but virtuous and beneficent.’
Footnote 24:
Burney’s History of Music. Dr. Burney purchased an old music book of
Salvator’s compositions, of his granddaughter, in 1773, and brought it
over with him to England.
Footnote 25:
He was thrown into gaol and executed, for his concern in some
desperate enterprise.
Footnote 26:
Why so? Was it not said just before, that this painter was deep in the
Neapolitan school? But Lady Morgan will have it so, and we cannot
contradict her.
Footnote 27:
We might refer to the back-ground of the St. Peter Martyr. Claude,
Gaspar, and Salvator could not have painted this one back-ground among
them! but we have already remarked, that _comparisons are odious_.
Footnote 28:
The Cardinal Sforza Pallavicini, having been present by his own
request at the recitation of one of these pieces, and being asked his
opinion, declared, that ‘Salvator’s poetry was full of splendid
passages, but that, as a whole, it was unequal.’
Footnote 29:
Lady Morgan is always quarrelling with Passeri’s style, because it is
not that of a modern Blue-stocking.
Footnote 30:
Hector St. John.
Footnote 31:
Verse and poetry has its source in this principle: it is the harmony
of the soul imparted from the strong impulse of pleasure to language
and to indifferent things; as a person hearing music walks in a
sustained and measured step over uneven ground.
Footnote 32:
It does not appear that the general form was coloured, as Mr. Flaxman
seems to argue.
Footnote 33:
‘It was the refuse, or what was called the _whig_, of the milk; and
was applied,’ says a Tory writer, ‘to what was still more sour, a
Scotch Presbyterian.’
Footnote 34:
Oldmixon’s History of England.
Footnote 35:
Defoe’s ‘Appeal to Honour and Honesty.’
Footnote 36:
Oldmixon’s History of England, vol. III. p. 36.
------------------------------------------------------------------------
TRANSCRIBER’S NOTES
1. Silently corrected obvious typographical errors and variations in
spelling.
2. Retained archaic, non-standard, and uncertain spellings as printed.
3. Enclosed italics font in _underscores_.
4. Denoted superscripts by a caret before a single superscript
character or a series of superscripted characters enclosed in
curly braces, e.g. M^r. or M^{ister}.