Steele or Addison in Spect. 262 ("When I place an imaginary name at the head of a character, I examine every syllable, every letter of it, that it may not bear any resemblance to one that is real"); and by Addison himself in a dozen such passages as that in No. 34, where he says, “I must... entreat every particular person, who does me the honour to be a reader of this paper, never to think himself, or any of his friends or enemies, aimed at in what is said: for I promise him, never to draw a faulty character which does not fit at least a thousand people," or in Nos. 567 and 568, where Addison makes such excellent fun of the overwise coffee-house politicians who read into innocent Spectator papers all sorts of treasonable utterances. Cf. also Spect. 46.

All this search for originals is a tribute to the vividness of the Spectator's characters: no one thinks of trying to find the prototype of Earle's abstract country squire. And yet this vast gain in distinctness argues no difference in method, but simply a difference in skill: instead of proving the absence of an original in Earle's case, or the presence of one in Addison's, it simply shows that the creator of Sir Roger surpassed previous efforts at character writing by having a greater measure of skill at this kind of portraiture.

60 15-16 Famous country-dance: Chappell's Old English Popular Music, II, 46 n., says that "according to Ralph Thoresby's MS. account of the family of Calverley, of Calverley in Yorkshire, the dance of Roger de Coverley was named after a knight who lived in the reign of Richard I." It appears, according to Chappell, in Playford's Division Violin, 1685; The Dancing Master, 1696, etc. In Tatler 34 it is called Roger de Caubly.

...

60 25 Soho-Square: also known as King's Square; on the south side of Oxford Street. According to Strype (1720), it was “a very large and open Place, enclosed with a high Pallisado Pale, the Square within being neatly kept. This Square hath very good Buildings on all Sides, especially the East and South, which are well inhabited by Nobility and Gentry." (Bk. vi, p. 87.) Mr. Wills notes that "Sir Roger changed his residence at each subsequent visit to London. The 'Spectator' in his 335th number, lodges him in Norfolk Street, Strand, and in No. 410, in Bow Street, Covent Garden."

60 27 A perverse beautiful Widow: She has been identified with a certain Mrs. Catherine Bovey (1669-1726), to whom Steele dedicated the second volume of his Ladies' Library. She is the Portia of Mrs. Manley's New Atalantis. See Dict. Nat. Biog., VI, 37–38; Wills's note; Coombe's Westminster Abbey, II, 36, and Fig. 12 in Plate 17.

61 2 My Lord Rochester: John Wilmot (1647-1680), second Earl of Rochester, poet and man of fashion, whom Evelyn (24 Nov., 1670) calls "a very prophane wit," and of whom Pepys (17 Feb., 1669) thought it "to the King's everlasting shame to have so idle a rogue his companion," is perhaps best remembered for his epigram on Charles II:

Here lies our sovereign lord the king,

Whose word no man relies on;
He never said a foolish thing,

Nor ever did a wise one.

The best edition of Rochester's works is that in 2 vols., London, 17311732; the best short sketch of his life is in the Dict. Nat. Biog.

61 2-3 Sir George Etherege: Sir George Etheredge (1635?-1691 ?), English dramatist, wrote The Comical Revenge, or Love in a Tub, 1664; She Would if She Could, 1668; The Man of Mode, or Sir Fopling Flutter, 1676. The best account of his life is in the Dict. Nat. Biog.; the best edition of his works is that by A. W. Verity, London, 1888. Rochester and Etheredge were friends, so that Sir Roger may be supposed often to have met them together: see the Hatton Correspondence, ed. E. M. Thompson for the Camden Society, I, 133, for an account of a drunken frolic in which Rochester and Etheredge attacked the watch at Epsom.

614 Bully Dawson: According to Oldys (MS. note in Brit. Mus. copy of Langbaine's Lives), Dawson was the original of Captain Hackaw in Shadwell's Squire of Alsatia. In Tom Brown's Letters from the Dead to the Living (p. 62) Bully Dawson writes to Bully W- —: "If you intend to be my Rival in Glory, you must fight a Bailiff once a Day, stand Kick and Cuff once a week, Challenge some Coward or other once a Month, Bilk your Lodging once a Quarter, and Cheat a Taylor once a Year...; never till then will the fame of Bully W- -n ring like Dawson's in every Coffee-house, or be the merry Subject of every Tavern Tittle-tattle."

61 27 The Game-act: see Notes, p. 146, l. 17.

61 29 The Inner-Temple: One of the Inns of Court, the others being the Middle Temple, Gray's Inn, and Lincoln's Inn. The property, which lies between Fleet Street and the Thames, was acquired by lease from the Knights of St. John of Jerusalem, to whom it had passed at the death of the Earl of Pembroke. See Wheatley and Cunningham's London, under "Temple" and "Inns of Court."

621 Longinus: The treatise "On the Sublime " (Пepì "Tyovs), which in Addison's time was thought to be the work of the historical Longinus

of the third century of our era, was very influential in eighteenth-century criticism. There was an English edition in 1636 (G. Langbaine, Oxford), and an English translation (by John Hall, London) in 1652, twenty-two years before Boileau's famous Traité du sublime ou du merveilleux dans le discours, traduit du grec de Longin, which reached at least its seventh edition before 1700.

622 Littleton: Sir Thomas Littleton (1402-1481), judge and legal writer. The first dated edition of his Tenures is 1516.

62 2 Coke: Sir Edward Coke (1552-1634), the great jurist. See Dict. Nat. Biog. XI, 229 ff. His First Part of the Institutes of the Lawes of England, or a Commentarie upon Littleton was published in 1628. In it (Part I, Preface) he calls Littleton's Tenures "the most perfect and absolute work that ever was written in any human science."

62 20 The time of the Play: On the time of plays see Aitken's Steele, II, 367-8. They seem to have begun usually at about half past six o'clock. Sir Roger's party in Spect. 335, however, start at four o'clock from Norfolk Buildings to be in ample time for the Distrest Mother at the Theatre Royal in Drury Lane. Operas seem to have been sometimes given early in the afternoon, for Lady Hervey writes: " Tuesday, 3 a clock, March 28, 1710. This opera is done so early that I shall play at Crimp after," etc. (Letter Book of John Hervey, I, 265.)

62 21 New-Inn; Russell Court: the New Inn, 21 Wych Street, Drury Lane, an Inn of Chancery appertaining to the Middle Temple (Wheatley and Cunningham's London, II, 583); Russell Court, Drury Lane, a narrow passage for foot-passengers only, leading from Drury into Catherine Street, Covent Garden (ibid., III, 190).

62 24 The Rose: the Rose Tavern . . . in Russell Street, Covent Garden, adjoining Drury Lane Theatre (Wheatley and Cunningham's London, III, 170). For the relative positions of these places, see the plan opposite p. 108 of Strype's Stowe, ed. 1720, vol. II.

62 27 Sir Andrew Freeport: Sir Andrew has been identified with Henry Martyn (or Martin), who died in 1726 (see Dict. Nat. Biog., XXXVI, 279). The identification is improbable, for Martin was himself a contributor to the Spectator: he certainly wrote No. 180 and possibly Nos. 200 and 232. Cf. No. 555.

63 18 Captain Sentry: Lieutenant-Colonel Kempenfelt, father of the "brave Kempenfelt" who went down with the Royal George, has been suggested as the original.

64 20 Humourists: people of a certain temperament, persistently of one mood or attitude. According to the old physiology there were

four liquid elements of the human body: blood, phlegm, choler (Gr. Xoλ) or yellow bile, and melancholy (Gr. μeλayxoλía) or black bile; as one or another of these humors predominated, a person was said to be of a sanguine, phlegmatic, choleric or bilious, or melancholy temperament. Cf. Chaucer's "Nonne Preestes Tale," ll. 4116 ff., and the notes thereon in Skeat's larger edition. See also Greenough and Kittredge, Words and Their Ways, pp. 30 ff.

"Humor plays," especially developed by Chapman and Ben Jonson, were prominent in English dramatic literature between 1590 and 1600. The fact that the most famous of these humor plays, Jonson's Every Man in his Humour, becomes in French Chacun dans son caractère, emphasizes the rather close connection between this dramatic characterization by humors and the character writings of Overbury, Earle, La Bruyère, and others, of which the Spectator essays are themselves the most finished example. There is a considerable bibliography of character writings in Bliss's edition (London, 1811) of Earle's Microcosmographie, 1628, and a still better one by Professor E. C. Baldwin in the Publications of the Modern Language Association of America, New Series, XII, No. 1, pp. 104-114. Several important character books are accessible in a volume of the "Carisbrooke Library" called Character Writings of the Seventeenth Century, London, Routledge, 1891.

64 22 Will. Honeycomb: Will Honeycomb, to whom the eighth volume of the Spectator was dedicated, has been identified with a Colonel William Cleland (1674?-1741) of the Life Guards. See Dict. Nat. Biog., XI, 30.

65 6 Duke of Monmouth: James Fitzroy, Duke of Monmouth, the illegitimate son of Charles II, was born at Rotterdam in 1649 and executed at London in 1685. Pepys speaks (3 Feb., 1664–5) of “a masquerade before the King and Court the other day. Where six women ... and six men (the Duke of Monmouth. being. of them) in vizards, but most rich and antique dresses, did dance admirably and most gloriously"; and Evelyn, who was less dazzled by Monmouth's fine air, recorded on the day of the execution: "Thus ended this quondam Duke, darling of his father and ye ladies, being extremely handsome and adroit; an excellent souldier and dancer."

65 13 Tom Mirabell: Professor Carpenter notes that "Steele apparently makes up this name, which has a flavor of the fop and the rake about it. There had been several Mirabels or Mirabells in English plays. See Beaumont and Fletcher, The Wild-goose Chase, Farquhar, The Inconstant, and Congreve, The Way of the World." (Selections from Steele, Boston: Athenæum Press Series, 1897.)

66 Motto: Horace, Ars Poet., 5: "Admitted to the sight, would you not laugh?"

66

66 13 Nicolini: Nicolino Grimaldi (1673–1726), the famous Italian opera singer, went to England in 1708. He took part in Camilla, Almahide, Hydaspes, and Rinaldo. Addison praises him cordially in No. 405, in which appears the advertisement: Signor Cavaliero Nicolini Grimaldi will take his leave of England in the opera of Antiochus." Of Nicolini's singing Burney says (History of Music, IV, 207): "This great singer and still greater actor, was a Neapolitan; his voice was at first a soprano, but afterwards descended into a fine contralto."

66 14 Boat; sea: In act 2, scene 1, appears "a prospect of a calm and sun-shiny sea, with a boat at anchor close upon the shore"; (scene 3) "the woman in the boat invites Rinaldo to enter." His companions for a while restrain him, but at length (scene 3, end) "He breaks violently from their hold, and enters the boat, which immediately steers out into the open sea, and sails out of sight."

66 16-18 Painted dragons, enchanted chariots, real Cascades: For the dragons and the chariot, see the stage direction of act I, scene 5: "Armida in the air, in a chariot drawn by two huge dragons, out of whose mouths issue fire and smoke." The cascades appear in act 3, scene I, when, according to the stage direction, "a dreadful prospect of a mountain horribly steep, . . . rocks, and caves, and waterfalls are seen upon the ascent."

67 18 The Opera: Rinaldo, Händel's first English opera, was performed at the Haymarket, February 24, 1711, and ran until the second of June. The text, of which the English words are by Aaron Hill and the Italian by Rossi, is based upon a part of Tasso's Jerusalem Delivered; che English and Italian versions are printed side by side in Aaron Hill's Dramatic Works, London, 1760. For the music, see Händel's Werke, vol. LVIII, Leipzig, 1874.

Of Händel's life the best short notice is perhaps that in the Dict. Nat. Biog., which gives many bibliographical references; on his English period in particular, see Schoelcher, pp. 26-32; Mrs. Marshall, pp. 4765; Chrysander, I, 251-309. On the general state of English music at the beginning of the eighteenth century, and Händel's influence upon it, see Lecky, I, 531 ff., and the larger histories of music: Burney, London, 1789, vol. IV, chaps. 5 and 6; Hawkins, London, 1776, vol. V, Books i and ii; Naumann, trans. Praeger, London, 1886, chaps. 25-27.

The attitude of Addison and Steele was rather personal. Addison's Rosamond, the music for which was written by Clayton, a member of