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206 nicative later in the same year,—says it is long since they have had any Shakspearian talk, “for that can never tire;” sends him also a prospectus of the proposed “new edition of the Poet, in fifteen volumes, royal quarto, embellished by Heath from paintings by Stothard;” afterwards announces that “he will be at Stratford to-morrow (Nov. 19), on his way to Ireland, and means to call upon him,” and finishes, as usual, with a good supply of queries.

The reference to Steevens in the following letter from Lord Charlemont, as in that from Jephson, arose from the unhappy disposition of that gentleman to pursue in bitterness of spirit any supposed adversary or rival. Although he had at one time, as we have seen, recommended his then friend to edit Shakspeare, compliance with this wish extinguished his favour, if not friendship. The younger Critic became in his eyes offensive, because he could not acquiesce in all opinions of the elder. The results were actual hostility to Malone, whom in order to annoy, he re-published his own edition in 1793, to prevent any re-issue by one now considered by him an intruder.

I have lately seen (October, 1793),—for Heaven forbid that I should have bought!— Steevens’s last edition of Shakspeare. You know I always disliked the man, and certainly the manner in which he mentions you has by no means diminished my dislike. In all he says there is but too visibly a feeble, though, thanks to his slender abilities, a fruitless attempt to damn with faint praise, which is certainly the species of satire least creditable to its author. Besides, that a publication at this period has at least the appearance of being meant to check the progress of your intended quarto,