s_.]

[Footnote 23: The names adopted by the Romans were very significant. The
_Nomen_ was indicative of the branch of the family distinguished by the
_Cognomen_; while the _Prenomen_ was invented to distinguish one from
the rest. Thus, a man of family had three names, and even a fourth was
added when it was won by great deeds.]

[Footnote 24: Edgar Poe's account of the regular mode by which he
designed and executed his best and most renowned poem, "The Raven," is
an instance of the use of methodical rule successfully applied to what
appears to be one of the most fanciful of mental works.]

[Footnote 25: The old poet is the most fresh and powerful in his words.
The passage is thus given in Wright's edition:--

The busy lark, messenger of day,
Saluteth in her song the morrow gray;
And fiery Phoebus riseth up so bright,
That all the orient laugheth of the light.

Leigh Hunt remarks with justice that "Dryden falls short of the
freshness and feeling of the sentiment. His lines are beautiful, but
they do not come home to us with so happy and cordial a face."]

[Footnote 26: This use of what most persons would consider waste paper,
obtained for the poet the designation of "paper-sparing Pope."]

[Footnote 27: Dr. Johnson, in noticing the MSS. of Milton, preserved at
Cambridge, has made, with his usual force of language, the following
observation: "Such reliques show how excellence is acquired: what we
hope ever to do with ease, we may learn first to do with diligence."]

[Footnote 28: _Silent_ in the MS. (observes a critical friend) is
greatly superior to _secret_, as it appears in the printed work.]

[Footnote 29: The great feature of the modern stage within the last
twenty years has been the Classical Burlesque Drama, which, though
originating in the last century in such plays as _Midas_, really reached
its culmination under the auspices of Madame Vestris.]

[Footnote 30: Motteux, whose translation Lord Woodhouselee distinguishes
as the most curious, turns the passage thus: "I wish you well, good
people: drive on to act your play, for in my very childhood I loved
_shows_, and have been a great admirer of _dramatic representations_."
Part II. c. xi. The other translators have nearly the same words. But in
employing the generic term they lose the species, that is, the thing
itself; but what is less tolerable, in the flatness of the style, they
lose that delightfulness with which Cervantes conveys to