Gave it, as ransom; but as fidlers, still, My piteous soul began the wretchedness Of suitors at court to mourn, and a trance Like his, who dreamt he saw hell, did advance I saw at court, and worse and more. Low fear NOTES. piece. But such a frigid objection ought to vanish before so much excellence. Ver. 192. Not Dante dreaming] It is only within a few years that the merits of this great and original Poet were attended to, and made known in this country. And this seems to be owing to a translation of the very pathetic story of Count Ugolino; to the judicious and spirited summary given of this poem, in the 31st section of the History of English Poetry; and to Mr. Hayley's elegant translation of three cantos of the Inferno. Notwithstanding the feeble and tasteless attacks of Voltaire, real judges will ever think that it abounds in many strokes of the true sublime, and the pathetic, though mixed with the strongest traits of the satiric. With what vigour and vehemence has he Where Contemplation prunes her ruffled wings, And forc'd ev'n me to see the damn'd at Court. NOTES. 190 195 justly lashed the profligacy, the tyranny, and the corruptions, of the Church of Rome, being one of the very first writers that called her the Great Harlot in the Apocalypse, canto 19, of the Inferno. Nor has he been less severe on cruel and despotic princes; and in one place makes Hugh Capet confess that his father was a butcher: Figliuol d' un Beccajo di Parigi. Purgat. canto 20, and own himself the cause and origin of much mischief to Christendom: I suoi radici de la mala pianta, Che la terra Christiana tutta aduggià, Si che buon frutto rado se ne schianta. I only just add, that Mr. Addison appears not to have read Dante, from his never once referring to him in his Criticisms on Milton, who was such an admirer and imitator of this great Italian Poet. Algarotti justly laments the loss of an inestimable treasure, a copy of Dante, which Michael Angelo had enriched with designs drawn with his pen, on the margin of each leaf. Dante was justly styled, Il poeta dell' evidenza. These first stanzas of the 24th canto of the Inferno, printed in Dodsley's Museum, No. 2, page 57, is by Mr. Spence. Voltaire absurdly calls Il Inferno, "Ce Salmigondis.". No, no, thou which since yesterday hast been, Such as swells the bladder of our court? I With us at London, flouts our Courtiers; for Had all the morning held, now the second Wants reach all states: me seems they do as well NOTES. A show of the Italian Garden in Waxwork, in the time of King James the First. W. ti. e. of wood. W. Ver. 206. Court in wax !] A famous show of the Court of France in Waxwork. P. Ver. 213. At Fig's, at White's,] White's was a noted gaminghouse: Fig's, a Prize-fighter's Academy, where the young Nobi 200 205 O my fair mistress, Truth! shall I quit thee 210 215 As the fair fields they sold to look so fine. "That's Velvet for a King!" the flatt'rer swears: 'Tis true, for ten days hence 'twill be King Lear's. NOTES. lity received instruction in those days: it was also customary for the Nobility and Gentry to visit the condemned criminals in Newgate. P. Ver. 218. That's Velvet] Much superior to the Original in brevity and elegance: the next line is a stricture on the act for licensing plays, which about this time occasioned great debates in the House of Lords, and a very spirited and remarkable speech of Lord Chesterfield in behalf of play-writers:-" Wit," said he, " my Lords, is the property of those who have it; and very often the only property they have. Thank Heaven, my Lords, we are otherwise provided for." The first play that was prohibited by this act, was Gustavus Vasa, by Brooke; the next was the Edward and Eleonora of Thomson. That there came weak ships fraught with Cutchanel) Great stains and holes in them, but venial NOTES. Ver. 220. our stage give rules,] Alluding to the Authority of the Lord Chamberlain. W. Ver. 227. Like frigates fraught] Here is a very close resemblance to the picture of Dalilah, in Samson Agonistes: With all her bravery on, and tackle trim, Ver. 240. by Durer's rules,] The best Painter Germany ever produced; he was patronised and beloved by Maximilian I. and by Charles V. and, what was of more consequence to an artist, by Raphael himself, who sent him several designs, and his own portrait. He formed himself on no other painter, had a manner |