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for. Our imaginary woes are conjured up by our passions, and are fostered by passionate feeling: our real ones come of themselves, and are opposed by an abstract exertion of mind. Real grievances are displacers of passion. The imaginary nail a man down for a sufferer, as on a cross; the real spur him up into an agent. I wish, at one view, you would see my heart towards you. 'Tis only from a high tone of feeling that I can put that word upon paper-out of poetry. I ought to have waited for your answer to my last before I wrote this. I felt, however, compelled to make a rejoinder to yours. I had written to Dilke on the subject of my last, I scarcely know whether I shall send my letter now. I think he would approve of my plan; it is so evident. Nay, I am convinced, out and out, that by prosing for a while in periodical works, I may maintain myself decently.

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Lord Houghton here adds :-"The gloomy tone of this correspondence soon brought Mr. Brown to Winchester. Up to that period Keats had always expressed himself most averse to writing for any periodical publication. The short contributions to the 'Champion' were rather acts of friendship than literary labours. But now Mr. Brown, knowing what his pecuniary circumstances were, and painfully conscious that the time spent in the creation of those works which were destined to be the delight and solace of thousands of his fellow-creatures, must be unprofitable to him in procuring the necessities of life, and, above all, estimating at its due value that spirit of independence which shrinks from materialising the obligations of friendship into daily bread, gave every encouragement to these designs, and only remonstrated against the project" of taking a solitary lodging in Westminster, "on account of the pain he would himself suffer from the privation of Keats's society,” and "from the belief that the scheme of life would not be successful."

APPENDIX TO VOLUME III.

CONTENTS OF THE APPENDIX.

I. Analysis of Richard Duke of York, from Some Account of the English Stage, by Geneste.

II. Extracts from The Examiner for the 4th of May 1817.
III. Poem by Katherine Philips, To Mrs. Mary] A[wbrey] at

Parting.

IV. Letters from Scotland by Charles Armitage Brown.

V. The "Cockney School" attack on Keats.

VI. John Hamilton Reynolds on Keats and The Quarterly Review.

VII. Two letters to the Editor of The Morning Chronicle on Keats and The Quarterly Review.

VIII. Shelley's Letter to the Editor of The Quarterly Review concerning Keats.

I.

ANALYSIS OF RICHARD DUKE OF YORK

EXTRACTED FROM VOLUME VIII

OF

SOME ACCOUNT OF THE ENGLISH STAGE, BY GENESTE.

By way of illustrating Keats's only serious attempt at professional criticism, it seems worth while to give here an analysis of the compilation-play in which Kean appears to have been so striking,—a play which, if printed at all, is scarce enough to be quite inaccessible for reference by the general reader. Keats deals with this play at pages 6 to 12 of the present volume. Geneste's analysis is as follows:

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"[Drury Lane 22nd Decr. 1817.] First time. Richard Duke of York, or the Contention of York and Lancaster-compiled from Shakespeare's three parts of Henry 6th-Richard Plantagenet, afterwards Duke of York Kean: King Henry VIth Maywood: Gloucester Holland: Cardinal Beaufort=Pope: Mortimer= Powell: Somerset S. Penley: Suffolk Rae: Old Lord Clifford Bengough: Young Clifford Wallack: Buckingham T. P. Cooke: Salisbury=R. Phillips: Warwick Barnard: Vernon Fisher: Horner-Wewitzer: Peter =Knight: Jack Cade Munden: Dick Oxberry : Queen Margaret = Mrs. Glover :-the bill was foolishly

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printed with the names of the performers only-acted 7 times.

"Act Ist begins with the scene in the Temple Garden— then follows the scene in the prison-Mortimer, instead of dying on the stage, is borne off-Plantagenet speaks a soliloquy, 20 lines of which are from Chapman-both these changes are for the worse-the latter part of this scene did not require the slightest alteration-scene 3d -the Parliament-the contention between Vernon and Clifford (or as Shakespeare calls them Vernon and Basset) is improperly omitted in representation—when the king, &c. go out, Shakespeare's short scene is foolishly eked out with 18 lines from Chapman-these scenes are from the first part of Henry 6th-then follows the Ist scene of the 2d part, badly altered.

"Act 2d begins with the petitioners-the scene is foolishly changed from the palace to a wood—and some sad stuff is added to Peter's part-scene 2d, the Council room-after some few short speeches, Gloucester enters and says

'Now, lords, my choler being overblown'

this is wrong, as Gloucester's choler and the reasons of it have been both omitted-the whole, or a part of the reproaches made to Gloucester should have been retained, and then Gloucester (without going out) might have replied

'As for your spightful false objections,

Prove them and I lie open to the law :
But Heav'n in mercy, &c.'

Horner and Peter are brought in guarded-it would have been better to have omitted these 2 characters entirelyand Buckingham might have entered, as he now doesGloucester in Shakespeare says—

'Ah, thus King Henry throws away his crutch,' &c.

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