{1} A lecture delivered at the London Institution, February 1st, 1877.

{2} Realism in the writing is carried to such a pitch in THE OLD BACHELOR, that husband and wife use imbecile connubial epithets to one another.

{3} Tallemant des Reaux, in his rough portrait of the Duke, shows the foundation of the character of Alceste.

{4} See Tom Jones, book viii. chapter I, for Fielding’s opinion of our Comedy.  But he puts it simply; not as an exercise in the quasi-philosophical bathetic.

{5} Femmes Savantes: 

BELISE:  Veux-tu toute la vie offenser la grammaire?

MARTINE:  Qui parle d’offenser grand’mere ni grand-pere?’

The pun is delivered in all sincerity, from the mouth of a rustic.

{6} Maskwell seems to have been carved on the model of Iago, as by the hand of an enterprising urchin.  He apostrophizes his ‘invention’ repeatedly.  ‘Thanks, my invention.’  He hits on an invention, to say:  ‘Was it my brain or Providence? no matter which.’  It is no matter which, but it was not his brain.

{7} Imaginary Conversations:  Alfieri and the Jew Salomon.

{8} Terence did not please the rough old conservative Romans; they liked Plautus better, and the recurring mention of the vetus poeta in his prologues, who plagued him with the crusty critical view of his productions, has in the end a comic effect on the reader.

{9} The exclamation of Lady Booby, when Joseph defends himself:  ’Your virtue!  I shall never survive it!’ etc., is another instance.—­Joseph Andrews.  Also that of Miss Mathews in her narrative to Booth:  ’But such are the friendships of women.’—­Amelia.