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NOTE 10.

Even this is open to demur. The Roman literature during the main Punic War with Hannibal, though unavoidably reached by some slight influence from the literature of Greece, was rich in native power and raciness. Left to itself, and less disturbed by direct imitation applied to foreign models, the Roman literature would probably have taken a wider compass, and fulfilled a nobler destiny.

NOTE 11.

‘Joan of Arc’s execution‘–viz., not by any English, but virtually by a French tribunal, as now, at last, is satisfactorily established by the recent publication, at Paris, of the judicial process itself in its full official records.

NOTE 12.

The notes are now (i. e., in all modern editions) assigned to their separate authors; though not always in a way to prevent doubts. For instance, Roscoe’s notes, except that they are always distinguished by kindness and good sense, are indicated only by the absence of any distinguishing signature. But in the early editions great carelessness prevailed as to this point, and, sometimes, intentional dissimulation.

NOTE 13.

Which was probably not of French origin. Thomas-a-Kempis, Gerson, and others, have had the credit of it; but the point is still doubtful. When I say that it was extensively diffused, naturally I mean so far as it was possible before the invention of printing. One generation after Agincourt this invention was beginning to move, after which–that is, in two generations–the multiplication of copies, and even of separate editions and separate translations, ran beyond all power of registration. It is one amongst the wonders of the world; and the reason I have formerly explained. Froissart belongs to the courts of England and of Burgundy much more than to that of France.

NOTE 14.

Hardi, it is scarcely necessary to mention; as he never became a power even in France, and out of France was quite unknown. He coincided in point of time, I believe, most nearly with Francis Beaumont.

NOTE 15.

Italian, Spanish, and finally German poetry have in succession exercised some slight influence, more or less, over our English poetry. But I have formerly endeavored to show that it is something worse than a mere historical blunder, that, in fact, it involves a gross misconception and a confusion in the understanding, to suppose that there ever has been what has been called a French school in our literature, unless it is supposed that the unimpassioned understanding, or the understanding speaking’ in a minor key of passion, is a French invention.