[Footnote 250:  Lessing:  1729-81.  Diderot:  1713-84.  As De Quincey puts it, Lessing may be said to have begun his career precisely in the middle of the last century.]

[Footnote 251:  Hamburg.  Dramaturgie, Sec. 85.  Werke, vi. 381. (Ed. 1873.)]

[Footnote 252:  Diderot’s Leben, i. 274, 277.]

[Footnote 253:  Corr.  Lit., ii. 103.]

[Footnote 254:  See Grimm’s account of the performance, Corr.  Lit., vii. 313.]

[Footnote 255:  Act IV. sc. 3.]

[Footnote 256:  Act V. sc. 3.]

[Footnote 257:  De la Poesie Dramatique, ch. xxi.]

[Footnote 258:  vii. 107.]

[Footnote 259:  Nov. 28, 1760; xix. 457.]

[Footnote 260:  Lettre sur les Sourds et les Muets, i. 359.]

[Footnote 261:  Correspond. du Roi Stanislas-Auguste et de Mdme. Geoffrin, p. 466.]

[Footnote 262:  Aug. 1769; xix. 314-323.]

[Footnote 263:  Quoted in Mr. Sime’s excellent Life of Lessing (Truebner and Co., 1877), p. 230.]

[Footnote 264:  De la Poesie Dramatique, Sec. 2, vii. 313.]

[Footnote 265:  Lockhart’s Life of Scott, iv. 177 (ed. 1837).]

[Footnote 266:  xix. 474.]

[Footnote 267:  Pere de Famille, Act II. sc. 2, p. 211.]

[Footnote 268:  Paradoxe sur le Comedien, p. 383.]

[Footnote 269:  Journals, ii. 331.  Also vi. 248; vii. 9.]

[Footnote 270:  Reflexions sur Terence, v. 228-238.  In another place (De la Poesie Dram., 370) he says:  “Nous avons des comedies.  Les Anglais n’ont que des satires, a la verite pleines de force et de gaiete, mais sans moeurs et sans gout.  Les Italiens en sont reduits au drame burlesque.”]

[Footnote 271:  vii. 95.]

[Footnote 272:  Lettre sur les Sourds et les Muets, i. 355.]

[Footnote 273:  Paradoxe, viii. 384.  The criticism on the detestable rendering of Hamlet by Ducis (viii. 471) makes one doubt whether Diderot knew much about Shakespeare.]

[Footnote 274:  Letter to Mdlle.  Jodin, xix. 387.]

[Footnote 275:  Johnson one day said to John Kemble:  “Are you, sir, one of those enthusiasts who believe yourself transformed into the very character you represent?” Kemble answered that he had never felt so strong a persuasion himself. Boswell, ch. 77.]

[Footnote 276:  Lessing makes this a starting-point of his criticism of the art of acting, though he uses it less absolutely than Diderot would do. Hamburg.  Dramaturgie, Sec. 3, vol. vi. 19.]

[Footnote 277:  In Lichtenberg’s Briefe aus England (1776) there is a criticism of the most admirably intelligent kind on Garrick.  Lord Lytton gave an account of it to English readers in the Fortnightly Review (February 1871).  The following passage confirms what Diderot says above: