CARVE.—Rural carvers, who with knives deface the panels.

CowPER.—The Sofa, Line 281. CASE.-1. I know your good nature in a case like this,

and2. State the symptoms of the case, Sir Charles.

COLMAN.—The Poor Gentleman, Act I. Scene 2. CAST.-I have set my life upon a cast, And I will stand the hazard of the die.

SHAKSPERE.—King Richard III. Act V. Scene 4.

(Solus.) CASTLES.—Leaving the wits the spacious air, With licence to build castles there.

Swirt.-Vanbrugh's House. [And see the same idea in his “Duke of Grafton's Answer to Dean Smedley's Petition ;” BROOME.-Poverty and Poetry; CHURCHILL.—Night, Epi. to Robert Lloyd; SHENSTONE.-On Taste, Part II. ; and Lloyd, Epi. to Cosman.) CAT.-Playing the mouse, in absence of the cat.

SHAKSPERE.—King Henry V. Act I. Scene 2.

(Westmoreland.) When the cat's away, the mice will play.

OLD SAYING. CATASTROPHE.-So! so! here's fine work!-here's fine

suicide, parricide, and simulation, going on in the fields! and Sir Anthony not to be found to prevent the antistrophe !

SHERIDAN.-- The Rivals, Act V. Scene i. I'll tickle his catastrophe for this.

Anonymous.—The Merry Devil of Edmonton. CATCH.-Catch as catch can.

Athenæus -Lib. V. Page 193; a saying of Anti

ochus Epiphanes.
For why? Because the good old rule

Sufficeth them; the simple plan,
That they should take who have the power,
And they should keep who can.

WORDSWORTH.-Rob Roy's Grave.
CATO.-The dawn is overcast, the morning low'rs,
And heavily in clouds brings on the day:
The

great, th' important day, big with the fate Of Cato, and of Rome.

ADDISON.-Cato, Act I, Scene 1.

CAVIARE.-Twas caviare to the general.

SHAKSPERE.-Hamlet, Act II. Scene 2.

(The Prince to the Players.)
CENSORIOUS.–Be not too rigidly censorious,
A string may jar in the best master's hand,
And the most skilful archer miss his aim;-
I would not quarrel with a slight mistake.

Roscommon.–Art of Poetry.
CEVSURE.—But we contemn the fury of these days,
And revere no less their censure than their praise.

Cowley.—Prologue to the Guardian.

Numbers err in this; Ten censure wrong for one who writes amiss.

Pope.-On Criticism, Line 5. Censure is the tax a many pays to the public for being eminent.

Anon.-Spectator, No. ČI. CHAMBER.-Sitting in my dolphin-chamber, at the round table, by a sea-cole fire.

SHAKSPERE.—King Henry IV. Part II. Act II.

Scene I. (Hostess to Falstaff.) CHANCE.—A lucky chance, that oft decides the fate Of mighty monarchs.

THOMSON.-Summer.

CHANGE.—Whate'er the passion, knowledge, fame, or pelf,
Not one will change his neighbour with himself.

Pope.-Essay on Man, Epi. II. Line 261.
Where yet was ever found a mother
Who'd give her booby for another?

GAY.–Fable III. Line 33.
A change came o'er the

spirit of my dream. BYRON.—The Dream, Line 75.

Fear of change
Perplexes monarchs.

MILTON.-Paradise Lost, Book I.
No:-Let the eagle change his plume,
The leaf its hue, the flower its bloom;
But ties around his heart were spun,
That could not, would not, be undone !

CAMPBELL.-O'Connor's Child.

CHANGE.-Can the Ethiopian change his skin, or the leopard his spots ?

JEREMIAH. Chap. XIII. Verse 23.
The French and we still change, but here's the curse,
They change for better, and we change for worse.

DRYDEN.-Prologue to the Spanish Friar.

Nothing is thought rare Which is not new and follow'd: yet we know That what was worn some twenty years ago Comes into grace again.

BEAUMONT and FLETCHER,—Prologue to the Noble

Gentleman, Line 4.
Alas! in truth, the man but chang'd his mind,
Perhaps was sick, in love, or had not dined.

Pope.-Moral Essays, Epi. I. To Sir R. Temple.

Line 127.
How chang’d, alas, from what it once had been !
'Tis now degraded to a public inn.
Gay.-A True Story.

The hearts
Of all his people shall revolt from him,
And kiss the lips of unacquainted change.

SHAKSPERE.-King John, Act III, Scene 4.

(Pandulph to Lewis.) CHAOS.-For he being dead, with him is beauty slain, And beauty dead, black chaos comes again.

SHAKSPERE.—Venus and Adonis, Stanza 170. Excellent wretch! perdition catch my soul But I do love thee! and when I love thee not Chaos is come again.

SHAKSPERE.-Othello, Act III. Scene 3.

(Othello's love for his Wife.)
But, should he hide his face, th' astonish'd sun,
And all th' extinguish'd stars, would loosening reel
Wide from their spheres, and chaos come again.

Thomson.—Summer, Line 182.
CHAPEL.- Wherever God erects a house of prayer,
The devil's sure to have a chapel there.

De FoE.—The True-born Englishman.

CHAPEL.—No sooner is a temple built to God, but the devil builds a chapel hard by.

GEORGE HERBERT.-Jacula Prudentum;

BURTON's Anatomy of Mel. Part III. Section 4. CHAPTER.–Who read a chapter when they rise, Shall ne'er be troubled with ill eyes.

GEORGE HERBERT.—The Temple; Charms and

Knots.
CHARITY.—0, poor charity!
Thou art seldom found in scarlet.

WEBSTER.–The White Devil.
CHARMS.-How often have I paused on every charm,
The shelter'd cot, the cultivated farm,
The never-failing brook, the busy mill,
The decent church that topp'd the neighbouring hill ;
The hawthorn bush, with seats beneath the shade,
For talking age and whispering lovers made.

GOLDSMITH.—Deserted Village, Line 9.
CHARTER-I must have liberty
Withal, as large a charter as the wind,
To blow on whom I please.

SHAKSPERE.-As you Like It, Act II. Scene 7.
(Jaques to Duke S.)

When he speaks, The air, a charter'd libertine, is still.

SHAKSPERE.-King Henry V. Act I, Scene 1.

(Canterbury to Eliza.) CHASE.—That excellent grand tyrant of the earth, Thy womb let loose, to chase us to our graves.

SHAKSPERE.—King Richard III. Act IV.

Scene 4. (Queen Margaret to the Duchess.) CHASTITY.—She, that has that, is clad in complete steel.

MILTON.-Comus. CHATHAM.-His speech, his form, his action, full of grace, And all his country beaming in his face, He stood, as some inimitable hand Would strive to make a Paul or Tully stand.

COWPER.—Table Talk, Line 347. Such men are raised to station and command, When Providence means mercy to a land.

CowPER.-Ibid., Line 355.

46

CHEEK-CHILDHOOD.

CHEEK.-See, how she leans her cheek upon her hand !
0, that I were a glove upon that hand,
That I might touch that cheek !

SHAKSPERE.—Romeo and Juliet, Act II, Scene 2. [Oh, that I were a flea upon that lip !-SHIRLEY; The School of Compliments. Oh, that I were a veil upon that face !S. MARMION; The Antiquary, Act II. Scene 1, See DODSLEY'S Coll. of Old Plays, Vol X. p. 26.] CHERRY.-We grew together Like to a double cherry, seeming parted.

SHAKSPERE.—Midsummer Night's Dream, Act III.

Scene 2. (Helena to Hermia.) CHEWING.–Chewing the food of sweet and bitter fancy,

SHAKSPERE.-As you Like It, Act IV. Scene 3.

(Oliver to Celia in the Forest.) CHICKENS.—What, all my pretty chickens, and their dam, At one fell swoop ?

SHAKSPERE.—Macbeth, Act IV. Scene 3.

(Macduff to Malcolm.) To swallow gudgeons 'ere they're catch'd, And count their chickens 'ere they're hatch'd.

BUTLER.—Hudibras, Part II. Canto III. Line 923.
CHILD.The childhood shews the man,
As morning shews the day.

MILTON.- Paradise Regained, Book IV.
The child is genuine, you may trace
Throughout the sire's transmitted face.

GREEN.—The Spleen, Line 11.
Oft too the mind well pleased surveys,
Its progress from its childish days;
Sees how the current upwards ran,
And reads the child o'er in the man.

LLOYD.-Epi. to Coleman, Line 17.
The child is father of the man.

WORDSWORTH.—My Heart Leaps Up, Line 7.
CHILDHOOD.-Alas, my lord, my life is not a thing
Worthy your noble thoughts! 'Tis not a life,
'Tis but a piece of childhood thrown away.

BEAUMONT and FLETCHER.-Philaster, Act V.

Scene 2.