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Draw Like an Artist

100 Birds ,
Butterflies &
Other Insects
Step-by-Step Realistic Line Drawing
A Sourcebook for Aspiring Artists and Designers

MELISSA WASHBURN
© 2020 Quarto Publishing Group USA Inc.
Text © 2020 Melissa Washburn

First Published in 2020 by Quarry Books, an imprint of The Quarto Group,

100 Cummings Center, Suite 265-D, Beverly, MA 01915, USA.
T (978) 282-9590 F (978) 283-2742 QuartoKnows.com

All rights reserved. No part of this book may be reproduced in any form without written
permission of the copyright owners. All images in this book have been reproduced with the
knowledge and prior consent of the artists concerned, and no responsibility is accepted by
producer, publisher, or printer for any infringement of copyright or otherwise, arising from the
contents of this publication. Every effort has been made to ensure that credits accurately
comply with information supplied. We apologize for any inaccuracies that may have occurred
and will resolve inaccurate or missing information in a subsequent reprinting of the book.

Quarry Books titles are also available at discount for retail, wholesale, promotional, and bulk
purchase. For details, contact the Special Sales Manager by email at [email protected]
or by mail at The Quarto Group, Attn: Special Sales Manager, 100 Cummings Center,
Suite 265-D, Beverly, MA 01915, USA.

10 9 8 7 6 5 4 3 2 1
ISBN: 978-1-63159-947-7

Digital edition published in 2020

eISBN: 978-1-63159-948-4

Design: Quarto Publishing Group USA Inc.

Illustration: Melissa Washburn

Printed in China
Draw Like an Artist

100 Birds ,
Butterflies &
Other Insects
 CONTENTS

INTRODUCTION........................... 6
How to Use This Book..................................7

SECTION 1: BIRDS
Eagle......................................................................11
Hawk.................................................................... 12
Peregrine Falcon............................................ 13
Gull....................................................................... 14
Sandpiper.......................................................... 15
Cormorant........................................................ 16
Tern...................................................................... 17
Pelican................................................................ 18
Cuckoo............................................................... 19
Emu.....................................................................20
Spoonbill........................................................... 21
Stork................................................................... 22
Turkey................................................................ 23
Pheasant........................................................... 24
DR AW LIKE AN ARTIST: 100 BIRDS, BUT TERFLIES, AND OTHER INSECTS

Wood Duck..................................................... 25
Canada Goose............................................... 26
Loon.................................................................... 27
Puffin.................................................................. 28
Swan................................................................... 29
Barn Owl...........................................................30
Toucan................................................................ 31
Macaw................................................................ 32
Cockatoo.......................................................... 33
Cassowary.......................................................34
Kakapo.............................................................. 35
Bird of Paradise............................................. 36
Weaverbird...................................................... 37
Honeycreeper................................................. 38
Green Heron................................................... 39
Thrush............................................................... 40
Cardinal.............................................................. 41
Cedar Waxwing............................................. 42
Quail...................................................................43
Finch...................................................................44
Sparrow.............................................................45
Titmouse...........................................................46
Oriole.................................................................. 47
Scissor-Tailed Flycatcher..........................48
Swallow.............................................................49
Peacock............................................................50
Downy Woodpecker.................................... 51

4
Wren................................................................... 52
Nuthatch........................................................... 53
Kingfisher.........................................................54
Warbler.............................................................. 55
Blue Jay............................................................ 56
Crow................................................................... 57 SECTION 4: BEES AND WASPS
Mockingbird.................................................... 58 Honeybee......................................................... 87
Dove.................................................................... 59 Bumblebee......................................................88
Vulture...............................................................60 Sweat Bee........................................................89
Whip-Poor-Will............................................... 61 Wasp..................................................................90
Feathers............................................................ 62
Songbird Wing.............................................. 63
Hawk/Raptor Wing.....................................64
Feet: Songbird............................................... 65 SECTION 5: BEETLES
Feet: Shorebird/Water Bird.....................66 Ladybug............................................................ 91
Feet: Bird of Prey......................................... 67 Longhorn Beetle........................................... 92
Feet: Woodpecker.......................................68 Scarab Beetle................................................. 93
Hawk in Flight................................................69 Flower Beetle.................................................94
Songbird in Flight........................................70 Leatherwing Beetle..................................... 95
Firefly.................................................................96
Rhinoceros Beetle........................................ 97
SECTION 2: BUTTERFLIES June Bug/Chafer Beetle...........................98
Monarch Butterfly......................................... 71 Weevil................................................................99
Swallowtail Butterfly................................... 72
Blue Butterfly................................................. 73
Question Mark Butterfly........................... 74 SECTION 6: OTHER INSECTS
Skipper Butterfly.......................................... 75 Leaf-Footed Bug........................................100
Buckeye Butterfly........................................ 76 Lacewing......................................................... 101
Checkerspot Butterfly............................... 77 Cricket............................................................. 102
Birdwing Butterfly....................................... 78 Grasshopper................................................. 103
Fritillary Butterfly......................................... 79 Dragonfly....................................................... 104
Sulphur Butterfly..........................................80 Damselfly....................................................... 105
Housefly.......................................................... 106
Praying Mantis............................................. 107
SECTION 3: MOTHS Katydid............................................................ 108
Cecropia Moth................................................ 81 Cicada.............................................................. 109
Luna Moth........................................................ 82 Stick Insect..................................................... 110
Tiger Moth....................................................... 83
Underwing Moth...........................................84
Sphinx Moth.................................................... 85 Acknowledgments ...................................... 111
Flannel Moth...................................................86 About the Author......................................... 111

5
 INTRODUCTION

My fascination with the natural world started will often convey enough information. Scientific
in my childhood in the Adirondack region of illustration follows a more specific set of con-
upstate New York. I’ve always needed to know ventions and level of detail than I demonstrate
the names, characteristics, and life cycles of the here, and there are a number of excellent
plants, insects, birds, and animals around me, references available on the subject for the
so it seemed natural (no pun intended) that interested student.
these subjects would become a major theme of This book isn’t organized by scientific
my work as an artist and illustrator. classification but by generally recognized
The best teacher for drawing birds and types. Many people think of butterflies as quite
insects is nature itself. Observing different birds different from other “bugs,” but they belong
and insects in their natural habitats will help to the same class of animals as beetles, grass-
you understand how they move and behave. hoppers, and flies: Insecta. All have six legs,
Some of these creatures move very quickly three main body parts, wings, and a chitinous
and constantly, making observation difficult, so exoskeleton. They’re fun to draw and fun to
visiting places like natural history museums and learn about. Beetles (order Coleoptera) alone
zoos can help you get a better look. Mounted includes over 350,000 identified species! They
specimens are useful for looking up close at aren’t pests but are pollinators, decomposers,
feet, antennae, feathers, etc., that are often lost and other vital contributors to our ecosystem.
DR AW LIKE AN ARTIST: 100 BIRDS, BUT TERFLIES, AND OTHER INSECTS

or difficult to see in photographs, and bird skel- Birds encompass a number of different orders,
etons can give valuable information from the Accipitriformes (birds of prey, including
about the underlying structures hidden by all the bald eagle and red-tailed hawk) to our
those feathers. As you become more familiar beloved backyard birds in the order Passeri-
with anatomy and continue to practice drawing, formes such as the northern cardinal and
your work will show more confidence and tufted titmouse in North America.
realism. This book shows birds and insects in I hope this book introduces you to the
a variety of different poses and angles, which basics of drawing some of my favorite
can be helpful in understanding how to con- creatures and gets you comfortable with
struct them in a more three-dimensional way. and curious about depicting some of the
Drawing any kind of animal can seem very wildlife all around us.
complex at first (it is!), so I suggest first getting
a feel for proportions and for the basic shapes
that make up the body. Beginning with the
underlying shapes, rather than with the exact
outer contour of the animal, will give a more
solid feeling to your drawing. Once you’re
happy with the basic shape, you can refine the
outline and add legs, wings, and so on. The final
step is to add things such as hair or feathers,
markings, and other details. You don’t need to
draw every individual strand of hair or feather—
just a few lines to indicate length and direction

6
HOW TO USE THIS BOOK
There are many tools, mediums, and styles in which to draw birds and insects. This book uses
some techniques I’ve learned over the years and shows the methods I’ve found most useful for
understanding the basics of drawing realistically. The figures and steps can be copied directly to
achieve a finished drawing, and the processes and methods can be used for drawing many other
subjects, whether plants, animals, or anything else.

Suggested Materials
• Graphite pencil. At a minimum, a standard HB pencil, but harder pencils (2H, 4H, etc.) are
useful for making lighter lines and underdrawing, while softer pencils (2-6B) are helpful for
more dramatic lines and shading.
• Felt tip pens or brush pens
• Smooth paper, at least 80lb
• Eraser. I recommend a kneaded eraser, which erases very cleanly without smudging and
doesn’t leave “crumbs” on your paper.

Basic Drawing Process

Begin the drawing with your harder pencil so your lines will be light and easy to erase (but make
sure you’re not pressing too hard and making an indent on the paper). Once you’re satisfied with
your shapes and basic contour, you can go over the drawing with your soft pencil or drawing
pens. You can then erase your lighter pencil lines for a clean, finished drawing.

Blocking in the Figure

Every subject in this book begins with solid shapes or directional lines to describe the general
proportions of the subject. It’s important to establish the correct proportions in the first step. How
large is the head relative to the body? What’s the general shape of the animal’s pose and main
body sections? Next, gestural lines are added to show the position and proportions of features
(eyes, beak, etc.), wings, and/or tail. In the example of the cardinal below, step 1 shows simple
shapes to establish the placement of the head and body. Step 2 adds some contour/shape to the
neck as well as some gestural lines to find the placement of the eye, beak, wings, and tail. Step 3
shows the full contour of the wings and beak and the placement of the feet on the perch.

STEP 1 STEP 2 STEP3

7
 A Note About
Tracing and Symmetry
While nothing in nature is perfectly symmetrical,
using tracing as a technique to establish symmetri-
cal proportions and features, especially on insects,
can be useful. It’s not cheating! You can draw one
side of a butterfly, for example, and then trace
your work and use transfer paper to flip the image
and give yourself guidelines for the other side. As
you develop your hand-eye coordination, drawing
symmetrically and getting proportions correct will
come more naturally, but as a beginner, tracing can
be a useful learning tool.

Constructing the Image

Once you establish the basic shapes and propor-
tions of the subject, you can start to define the
more detailed contours and features. The middle
steps (generally steps 3 and 4 or 4 to 6) are the
construction steps. In this stage of the drawing, you
are establishing the three-dimensional quality of
the animal. In this Canada goose example, step 4
DR AW LIKE AN ARTIST: 100 BIRDS, BUT TERFLIES, AND OTHER INSECTS

begins to add some of the individual feathers and

the contours of the body around the legs and feet.
In step 5, more details are added, and the final lines
and surface detail are refined. STEP 4 STEP 5

Adding Details and Cleanup

Final lines and small details come last. Here, you add things such as the suggestion of fur or
feathers, surface markings, or a little bit of shading. Once you’re happy with your work, go over
your contour lines with a pen and add more detail. Finally, erase your pencil lines. In step 7 of the
buckeye butterfly drawing, you can still see the light pencil lines of the general shapes we started
with, but some final details such as the placement of the butterfly’s spots and some of the body
fur is added. In step 8, the lighter lines have been erased, and final color and shading have been
added to show both the coloring and more of a suggestion of the fuzziness of the butterfly’s
body. In this final step, any shading to show shadows will also be added.

STEP 7 STEP 8

8
If you’re new to drawing, you can copy the steps in this book exactly. As you become more
advanced in your drawing practice, you can apply these steps and techniques to other birds and
insects you observe and to entirely different subjects. The species shown in this book are very
general examples, so keep in mind that many animals (for example, swallowtail butterflies or
hawks) include multiple species, each having slightly different features, proportions, and coloring.
Also, just as with people, every animal has its own distinguishing features and personality that will
vary a lot from individual to individual. Observing these differences and capturing them in your
drawings will improve your skills and bring more personality to your work.

TIPS FOR BETTER LINE CONTROL

All the drawings in this book are line drawings, so here are some tips and tricks to make your lines
smoother and more controlled. Even though we’re only using lines to create realistic birds and
insects, with good line control your drawings can become more polished and lifelike.

TIP #1: DRAW WITH MORE THAN JUST YOUR HAND AND WRIST
Beginners tend to grip their pencil very tightly and move just the hand/wrist. Drawing isn’t at
all like writing. Practice loosening the grip on your pencil and moving your entire arm when you
draw. You’ll find that your lines become smoother and more consistent. Turn your paper if you
need to, pulling down the page to create a smooth line. (It’s much easier to pull your lines down
than to push them up the page.) Drawing large—using an 11" x 17" (27.9 x 43.2 cm) or larger sheet
if you can—will also help.

EXERCISE. Using your favorite drawing tool, draw on a large piece of paper or chalkboard,
and just practice getting smooth lines by drawing large, simple shapes. Create circles, ovals, or
triangles in one long, large stroke moving from your shoulder. This is a good warm-up exercise
before you begin drawing each day.

TIP #2: ALWAYS “DRAW THROUGH”

When drawing shapes for things such as legs, get in the habit of
drawing the complete form, even if it overlaps or will be hidden
by another part of the animal. This ensures that you’ll draw the
full shape accurately and will not accidentally distort it by trying
to fit it around the other forms. In this example from the book,
the complete body and wing shapes are shown overlapping in
these steps, even though in the finished drawing the body is
hidden by the wing. Understanding the placement of the
features you can’t see will give a more realistic, three-dimensional
look to your work.
HOW TO USE THIS BOOK

TIP #3: VARY THE LINE THICKNESS

Varying the thickness of the line as you draw will immediately make your drawing look more
interesting and dynamic. As suggested earlier, a softer pencil (or a softer felt-tip ink pen or brush
pen) will allow you to easily change your line weight with slight pressure changes as you draw.

EXERCISE. On a large sheet of paper, draw with a felt-tip or brush pen. Make a series of lines,
experimenting with varying the line thickness, using more or less pressure on the same line as

9
 you draw. Also experiment with holding your drawing tool at a different angle to see how it
affects the thickness and quality of the line. Try drawing the lines more slowly or more quickly,
and see what effect this has on the line quality as well.

TIP #4: USE LINE WEIGHT TO SUGGEST LIGHT OR SHADOW

The thickness of your line can suggest light or shadow in a drawing. Thin lines will make a surface
seem more well lit while a thicker line will suggest contrast and shadow. This will also add drama
to your drawing. In addition, when drawing fur or feathers, it isn’t necessary to show every single
individual strand. A few lines to establish the direction of the feathers, and some marks to show
what’s in shadow, will be enough to give the body dimension.
thin
EXERCISE. Draw simple household objects like fruit or line
a cup. Note which direction the light is coming from, and
use thinner lines on the edges that face the light source and
thicker lines on the edges that are furthest away from the thicker line
light. Once you’re comfortable using this technique for
simpler objects, you can do the same with more complex
subjects such as birds and insects. thicker line

TIP #5: SHADING

In addition to using thin or thick lines to suggest light or shadow, you can use a couple of
techniques in your line drawing to create more dramatic shading and shadows. In this instance,
I use “shading” to mean areas that are inherently darker than others, not necessarily due to cast
DR AW LIKE AN ARTIST: 100 BIRDS, BUT TERFLIES, AND OTHER INSECTS

shadows. Lines drawn closer together will create a darker area; lines drawn farther apart will
create more subtle shading. You can also use the side of your pencil to quickly shade or fill in an
area evenly. Don’t let markings such as stripes or spots distract you from the underlying form
of the animal. These markings should be added last and will follow the contours of the surface of
the animal. The butterfly below shows the full form of the animal in step 6, then lines showing the
placement of the spots and other markings (following the contour of the wing) are added, and in
the final step shading is added along with the final dark markings.

STEP 6 STEP 7 STEP 8

EXERCISE. Create a simple still life from a few simple objects, and overlap one object in front
of the other. First use the side of your pencil to create smooth shading on the darkest object(s).
Then observe where the darkest parts of the shadows are, and use parallel lines very close together
to shade those areas. Use lines drawn a little farther apart to shade areas that aren’t quite as dark.
Layering these techniques together will allow you to describe both the relative colors of objects
just in black and white as well as capture the light and shadow falling on the objects.

10
E AGLE BIRDS

11
12
DR AW LIKE AN ARTIST: 100 BIRDS, BUT TERFLIES, AND OTHER INSECTS HAWK
PEREGRINE FALCON BIRDS

13
14
DR AW LIKE AN ARTIST: 100 BIRDS, BUT TERFLIES, AND OTHER INSECTS GULL
SANDPIPER BIRDS

15
16
DR AW LIKE AN ARTIST: 100 BIRDS, BUT TERFLIES, AND OTHER INSECTS CORMOR ANT
TERN BIRDS

17
18
DR AW LIKE AN ARTIST: 100 BIRDS, BUT TERFLIES, AND OTHER INSECTS PELICAN
CUCKOO BIRDS

19
20
DR AW LIKE AN ARTIST: 100 BIRDS, BUT TERFLIES, AND OTHER INSECTS EMU
SPOONBILL BIRDS

21
22
DR AW LIKE AN ARTIST: 100 BIRDS, BUT TERFLIES, AND OTHER INSECTS STORK
TURKE Y

23
BIRDS
24
DR AW LIKE AN ARTIST: 100 BIRDS, BUT TERFLIES, AND OTHER INSECTS PHE ASANT
WOOD DUCK

25
BIRDS
26
DR AW LIKE AN ARTIST: 100 BIRDS, BUT TERFLIES, AND OTHER INSECTS CANADA GOOSE
LOON BIRDS

27
28
DR AW LIKE AN ARTIST: 100 BIRDS, BUT TERFLIES, AND OTHER INSECTS PUFFIN
 29
SWAN BIRDS
30
DR AW LIKE AN ARTIST: 100 BIRDS, BUT TERFLIES, AND OTHER INSECTS BARN OWL
TOUCAN BIRDS

31
32
DR AW LIKE AN ARTIST: 100 BIRDS, BUT TERFLIES, AND OTHER INSECTS MACAW
COCK ATOO BIRDS

33
34
DR AW LIKE AN ARTIST: 100 BIRDS, BUT TERFLIES, AND OTHER INSECTS CASSOWARY
 35
K AK APO BIRDS
36
DR AW LIKE AN ARTIST: 100 BIRDS, BUT TERFLIES, AND OTHER INSECTS BIRD OF PAR ADISE
WE AVERBIRD BIRDS

37
38
DR AW LIKE AN ARTIST: 100 BIRDS, BUT TERFLIES, AND OTHER INSECTS HONE YCREEPER
 Another Random Document on
Scribd Without Any Related Topics
128. ‘Like Samson,’ etc. Cowper, The Task, V. 737.
‘The worst of every evil,’ etc. Cf. Temistocle, Act III. Sc. 2.
129. ‘A world,’ etc. Cf. Wordsworth, Personal Talk, l. 34.
‘A foregone conclusion.’ Othello, Act III. Sc. 3.
130. ‘We see the children,’ etc. Cf. Wordsworth, Ode, Intimations
of Immortality, 170–1.
Paul Clifford. Bulwer’s Paul Clifford appeared in 1830.
‘Lively,’ etc. Coriolanus, Act IV. Sc. 5.
‘The true pathos,’ etc. Burns, Epistle to Dr. Blacklock.
 FOOTMEN
Republished in Sketches and Essays.

PAG
E Sewell and Cross’s. Linen-drapers and silk-mercers, 44 and
131. 45 Old Compton Street, Soho.
The Bazaar. Established in 1815.
‘The Corinthian capitals,’ etc. Cf. Burke’s Reflections on the
Revolution in France (Select Works, ed. Payne, II. 164).
132. As I look down Curzon Street. The essay would seem to have
been written at 40 Half-Moon Street, where Hazlitt lodged
from 1827 to 1829.
133. ‘Brothers of the groves.’ Cf. vol. VIII. note to p. 467.
Mr. N——. Sketches and Essays prints ‘Northcote.’
‘High Life Below Stairs.’ By James Townley (1714–1788),
produced in 1759.
Mr. C——.? Coleridge.
Cassock. Sketches and Essays prints hassock.
The fate of the footman, etc. See Lady Mary Wortley
Montagu’s Epistle from Arthur Grey, the Footman, to Mrs.
Murray.
134. ‘Vine-covered hills,’ etc. From lines ‘Written in 1788’ by
William Roscoe and parodied in The Anti-Jacobin.
‘As pigeons pick up peas.’ Cf. Love’s Labour’s Lost, V. 2.
135. ‘No more—where ignorance,’ etc. Gray, On a Distant
Prospect of Eton College.
M. de Bausset. Louis François Joseph, Baron de Bausset (b.
1770), author of Mémoires anecdotiques sur l’intérieur du
palais (1827–8).
136.
Wear green spectacles. These three words, which seem to
have a personal application, were omitted in Sketches and
Essays. Cf. post, p. 217.
 ON THE WANT OF MONEY
Republished in Literary Remains.

137. ‘The heaviest stone,’ etc. Sir T. Browne, Hydriotaphia, chap.

IV.

138. ‘That Mr. Moore,’ etc. Moore’s Life of Sheridan appeared in

1825. This sentence was omitted in Literary Remains.
139. Note. ‘Such gain,’ etc. Cymbeline, Act III. Sc. 3.
140. ‘Screw one’s courage,’ etc. Cf. Macbeth, Act I. Sc. 7.
‘As kind,’ etc. Dryden, The Hind and the Panther, I. 271.
141. ‘Of formal cut.’ As You Like It, Act II. Sc. 7.
The fair Aurora. Gil Blas, Livre IV.
Monsieur de Very. See ante, note to p. 104.
Apicius. Marcus Gabius Apicius, the notorious Roman
epicure, referred to by Pliny, X. 48, 68, § 133.
Amelia’s hashed mutton. Amelia, Book X. chap. V.
142. ‘And ever,’ etc. L’Allegro, 135–6.
‘We called,’ etc. Cf. Colonel Jack, chap. 1.
‘The Colonel,’ etc. Ibid.
The City Madam. See Massinger’s, The City Madam, III. 3.
‘Spanish Rogue.’ Hazlitt refers to Mateo Aleman’s Guzman de
Alfarache (1599). Cf. vol. VIII. (Lectures on the Comic
Writers), p. 111.
142. Mr. Lamb has referred, etc. See Lamb’s Specimens, note to
Rowley’s A New Wonder (Works, ed. E. V. Lucas, IV. 126).
Note. ‘His daughter and his ducats.’ The Merchant of Venice,
Act II. Sc. 8.
143. ‘By their so potent art.’ Cf. The Tempest, Act V. Sc. 1.
144. ‘We know,’ etc. Hamlet, Act IV. Sc. 5.
‘Within that lowest deep,’ etc. Cf. Paradise Lost, IV. 76–77.
146. I never knew but one man, etc. ? Jeffrey.
‘With wine,’ etc. Cf. Milton’s Sonnet, Lawrence, of virtuous
father, etc.
149. ‘Pure in the last recesses of the mind.’ Dryden, The Second
Satire of Persius, 133.
Mr. Thomas Wedgwood. Thomas Wedgwood (1771–1805),
Coleridge’s friend.
‘We can hold,’ etc. Richard II., Act I. Sc. 3.
 ON THE FEELING OF IMMORTALITY IN
YOUTH
Republished with many omissions and variations in Literary
Remains and Winterslow.

PAG
E ‘Life is a pure flame,’ etc. Sir T. Browne, Hydriotaphia, chap.
150. V.

My brother’s. John Hazlitt (1767–1837), the miniature-

painter. See Mr. W. C. Hazlitt’s Four Generations of a
Literary Family, I. 210–18.
151. ‘The vast,’ etc. Cf. ‘The wide, the unbounded prospect, lies
before me.’ Addison, Cato, Act V. Sc. 1.
‘Bear a charmed life.’ Macbeth, Act V. Sc. 8.
‘Bidding,’ etc. Collins’s Ode, The Passions, 32.
‘This sensible,’ etc. Measure for Measure, Act III. Sc. 1.
152. ‘Wine of life,’ etc. Cf. Macbeth, Act II. Sc. 3.
‘As in a glass darkly.’ Cf. 1 Corinthians xiii. 12.
‘So am not I.’ Sterne, Tristram Shandy, vol. V. chap. vii.
Note. The Art of War (1795) by Joseph Fawcett (d. 1804), an
early friend of Hazlitt’s. See vol. VI. (Table-Talk), 224–5
and Mr. W. C. Hazlitt’s Memoirs, etc., I. 75–79.
153. ‘The feast of reason,’ etc. Pope, Imitations of Horace, Sat. I.
128.
‘Brave sublunary things.’ Cf. ‘Those brave translunary
things.’ Michael Drayton, To Henry Reynolds.
‘The stockdove,’ etc. Cf. Thomson, The Castle of Indolence, I.
St. 4.
 Note. ‘Had it not been,’ etc. Works, II. 254.
Note. She says of Richardson. See Works, II. 285 et seq. and
222.
Note. Monstrum ingens biforme. Cf. Æneid, III. 658.
Note. ‘His spirits,’ etc. Works, II. 283.
156. ‘The purple light of love.’ Gray, The Progress of Poesy, 41.
‘The Raphael grace,’ etc. Cf. ‘Match Raphael’s grace with thy
loved Guido’s air. ‘Pope, Moral Essays, VIII. 36.
‘Gain new vigour,’ etc. Cowper, Charity, 104.
157. ‘Beguile,’ etc. Cf. ‘Lose and neglect the creeping hours of
time.’ As You Like It, Act II. Sc. 7.
158. ‘Robbers.’ Schiller’s play, produced in 1782.
‘From the Dungeon,’ etc. Coleridge, Sonnet, ‘To the Author of
The Robbers.’
Don Carlos. Schiller’s play (1787).
158. ‘That time is past,’ etc. Cf. Wordsworth, Lines composed a
few miles above Tintern Abbey, 83–85.
159. ‘Even from the tomb,’ etc. Gray’s Elegy, 91–92.
‘All the life,’ etc. Cf. ‘For a’ the life of life is dead.’ Burns,
Lament for James, Earl of Glencairn, st. 6.
‘From the last dregs,’ etc. Cf. Dryden, Aurengzebe, Act IV. Sc.
1.
160. ‘Treason domestic,’ etc. Cf. Macbeth, Act III. Sc. 2.
‘Reverbs its own hollowness.’ Cf. King Lear, Act I. Sc. 1.
 ON READING NEW BOOKS
Published with omissions in Sketches and Essays. The essay was
written at Florence. See Mr. W. C. Hazlitt’s Memoirs, etc. II. 154.

PAG
E Note. See vol. VIII. (Lectures on the Comic Writers), p. 22 and
161. note.
162. ‘Has just come,’ etc. Cf. Richard III., Act I. Sc. 1.
164. A Manuscript of Cicero’s. Hazlitt probably refers to Cardinal
Angelo Mai’s (1782–1854) discoveries.
A Noble Lord. The Marquis of Blandford, who bought
Valdarfer’s edition of Boccaccio for £2260 at the Roxburgh
sale in 1812. Cf. ante, p. 43.
Mr. Thomas Taylor. Thomas Taylor (1758–1835), the
Platonist. The ‘old Duke of Norfolk’ (Bernard Edward, 12th
Duke, 1765–1842) was his patron, and locked up nearly the
whole of Taylor’s edition of Plato (5 vols., 1804) in his
library.
Ireland’s celebrated forgery. The main forgery, Vortigern, by
William Henry Ireland, was produced at Drury Lane on
April 2, 1796.
Note. Mr. G. D.’s chambers. Lamb’s friend George Dyer
(1755–1841) lived in Clifford’s Inn from 1792. His History
of the University and Colleges of Cambridge, etc. was
published in 2 vols. in 1814. In reference to the number of
corrections in this work, Lamb spoke of Dyer as
‘Cancellarius Magnus.’
Note. Another friend of mine, etc. Leigh Hunt. See his essay
‘Jack Abbot’s Breakfast’ reprinted in Men, Women, and
Books (1847).
166. ‘Proud as when,’ etc. Cf. Troilus and Cressida, Act I. Sc. 3.
167. ‘Like sunken wreck,’ etc. Cf. Henry V., Act I. Sc. 2.
168. ‘Full of wise σατυς,’ etc. Cf. As You Like It, Act II. Sc. 7.
‘An insolent piece of paper.’ ‘A piece of arrogant paper.’
Massinger, A New Way to pay Old Debts, Act IV. Sc. 3.
‘Somewhat musty.’ Cf. ‘Something musty.’ Hamlet, Act III. Sc.
2.
Longinus complains, etc. See Longinus, On the Sublime, IX.
169. Irving’s orations. Cf. vol. IV. (The Spirit of the Age), p. 228.
The Jew’s letters. Dr. Philip le Fanu published in 1777 a
translation of the Abbé Guenée’s Lettres de certaines
Juives à M. Voltaire.
That Van Diemen’s Land of letters. These words were
omitted in Sketches and Essays.
Flocci-nauci, etc. Shenstone, Letter xxi. 1741 (Works, 1791, III.
49).
‘Flames in the forehead,’ etc. Lycidas, 171.
170. Mr. Godwin composed an Essay, etc. Hazlitt perhaps refers
to the letter added by ‘Edward Baldwin’ to his own English
Grammar. See vol. VI. p. 388.
Note. A certain poet. This note was omitted in Sketches and
Essays.
171. ‘By Heavens,’ etc. Wordsworth Sonnet, The world is too
much with us.
171. ‘Trampled,’ etc. Cf. Burke, Reflections on the Revolution in
France (Select Works, ed. Payne, II. 93).
‘Kept like an apple,’ etc. Cf. Hamlet, Act IV. Sc. 2.
172. Note. ‘Speak evil of dignities.’ 2 Peter ii. 10.
Note. The Queens matrimonial-ladder. One of William
Hone’s squibs, published in 1820, and illustrated with
fourteen cuts by Cruikshank.
 ON DISAGREEABLE PEOPLE
Republished in Sketches and Essays.

174. ‘Discourse of reason,’ etc. Loosely quoted from Hamlet. Cf.

Act I. Sc. 2 and Act IV. Sc. 4.
‘The whole,’ etc. Cf. S. Matthew ix. 12.
‘As when,’ etc. Thomson, The Castle of Indolence, St. 64.
177. ‘Yea, into our heart of hearts.’ Cf. Hamlet, Act III. Sc. 2.
‘The volumes,’ etc. Roscommon, Horace’s Art of Poetry.
‘That dallies,’ etc. Cf. Twelfth Night, Act II. Sc. 4.
178. ‘Wit at the helm,’ etc. Cf. ‘Youth on the prow, and Pleasure at
the helm.’ Gray, The Bard, 74.
179. A butt, according to the Spectator, etc. See The Spectator,
No. 47.
181. ‘Hew you,’ etc. Cf. Julius Cæsar, Act II. Sc. 1.
Tempora, etc. Cf. Æneid, IV. 293–4.
‘Not to admire,’ etc. Pope, Imitations of Horace, Epistles I. vi.
1–2.
The Westminster School of Reform. Hazlitt refers to the
writers, including Bentham and James Mill, associated
with The Westminster Review, founded in 1824.
182. ‘Milk of human kindness.’ Macbeth, Act I. Sc. 5.
 ON MEANS AND ENDS
Published in Literary Remains with many variations presumably
introduced by the editor, and again in the same form in Winterslow.

PAG
E ‘We work by wit,’ etc. Othello, Act II. Sc. 3.
184. ‘Leaps at once,’ etc. Cowper, The Task, V. 686.
185. ‘From Indus,’ etc. Pope, Eloisa to Abelard, 58.

Hinc illæ lachrymæ. Horace, Epistles, I. xix. 41.

187. ‘Constrained by mastery.’ Chaucer, Canterbury Tales, The
188. Franklin’s Tale, 36; Wordsworth quotes the line in The
Excursion, VI. 162–5.
189. ‘Makes a sunshine,’ etc. The Faerie Queene, I. iii. 4.
190. David’s and Girodet’s pictures. Jacques Louis David (1748–
1825) and Anne Louis Girodet (1767–1824).
‘Potations, pottle-deep.’ Othello, Act II. Sc. 3.
192. ‘In a phantasma,’ etc. Julius Cæsar, Act II. Sc. 1.
‘Courage,’ etc. Paradise Lost, I. 108.
193. ‘His thoughts,’ etc. Cf. Ibid., IX. 467.
Note. Strong passion, etc. Cf. The Rambler, No. 1.
Note. ‘The lunatic,’ etc. A Midsummer Night’s Dream, Act V.
Sc. 1.
194. ‘Set but a Scotsman,’ etc. Cf. Burns, The Author’s Earnest Cry
and Prayer, Postscript, St. 4.
‘And it alone,’ etc. Cf. Twelfth Night, Act I. Sc. 1.
‘We read his works.’ Lamb’s Essay ‘On the Genius and
Character of Hogarth’ (Works, ed. E. V. Lucas, I. 71).
195. ‘The darlings of his precious eye.’ Cf. ‘Make it a darling like
your precious eye.’ Othello, Act III. Sc. 4.
196. ‘The jovial thigh,’ etc. Cf. Cymbeline, Act IV. Sc. 2.
197. ‘They are careful,’ etc. Cf. S. Luke X. 41–42.
198. ‘And with their darkness,’ etc. Cf. Paradise Lost, I. 391.
‘They also serve,’ etc. Adapted from Milton’s Sonnet, No. XX.,
‘When I consider how my light is spent,’ etc.
 ON PERSONAL IDENTITY
Published with some omissions in Winterslow.

‘Ha! here be,’ etc. King Lear, Act III. Sc. 4.

‘If I were not Alexander,’ etc. The saying is given by Plutarch.
Note. Zoffani. Johann Zoffany, or Zaufelly (1733–1810).
Note. Reynolds’s Speculation. A comedy by Frederick
Reynolds, produced in 1795. George III. was much amused
by it. See Life of Reynolds, II. 208–210.
199. ‘Wishing to be,’ etc. Cf. Shakespeare, Sonnet XXIX.
‘The rub,’ etc. Cf. Hamlet, Act III. Sc. 1.
‘Put off,’ etc. Ibid.
200. ‘What more felicity,’ etc. Spenser, Muiopotmos, St. 27.
201. ‘That something,’ etc. Cf. Pope, An Essay on Man, IV. 3–4.
‘Very choice Italian.’ Hamlet, Act III. Sc. 2.
‘Vows,’ etc. Cf. Paradise Lost, IV. 97.
‘The native hue,’ etc. Cf. Hamlet, Act III. Sc. 1.
202. ‘Shut up,’ etc. Macbeth, Act II. Sc. 1.
‘I’d sooner,’ etc. Cf. Julius Cæsar, Act IV. Sc. 3.
Sir Thomas Lethbridge. A sturdy Tory, member for
Somersetshire. He is possibly the L—— referred to in vol. VI.
(Table-Talk), p. 94. Though a staunch Protectionist, he
voted for Reform and Catholic Emancipation.
203. ‘Ethereal braid,’ etc. See vol. IV. (The Spirit of the Age), note
to p. 216.
Had I been a lord I should have married, etc. This sentence
and the next were omitted in Winterslow.
204. ‘Give me,’ etc. Cf. 3 Henry VI., Act I. Sc. 4.
‘Monarchise,’ etc. Richard II., Act III. Sc. 2.
‘Tenth transmitters,’ etc. Richard Savage, The Bastard.
‘In the catalogue,’ etc. Cf. Macbeth, Act III. Sc. 1.
‘Swinish multitude.’ Burke, Reflections on the Revolution in
France (Select Works, ed. Payne, II. 93).
205. ‘The fair,’ etc. Cf. As You Like It, Act III. Sc. 2.
The person who bought Punch. Cf. post, p. 353.
206. Why will Mr. Cobbett, etc. Cobbett had recently (1826)
unsuccessfully contested Preston.
The bird described by Chaucer. See Chaucer, The Canterbury
Tales, The Manciple’s Tale, 59 et seq., and The Squiere’s
Tale, 603 et seq.
You say there is a common language, etc. These words, down
to ‘And he will laugh in your face,’ were omitted in
Winterslow.
207. ‘A certain tender bloom,’ etc. Cf. ‘A certain tender gloom
o’erspread his face.’ Thomson, The Castle of Indolence, I.
St. 57.
208. ‘Stuff o’ the conscience.’ Othello, Act I. Sc. 2.
‘Laggard age.’ Collins, Ode, The Passions, 112.
209. Like Benvenuto Cellini, etc. See Life of Benvenuto Cellini,
Part II. lxxviii.
 APHORISMS ON MAN
Now republished for the first time. In The Monthly Magazine they
appeared as follows: I.–XI. October 1830; XII.–XXXVI. November 1830;
XXXVII.–XLVII. December 1830; XLVIII.–LV. April 1831; LVI.–LXVI. May
1831; LXVII.–LXX. June 1831. They are described as ‘by the late William
Hazlitt.’

PAG
E Monmouth-street. In St. Giles’s, now partly occupied by
210. Shaftesbury Avenue. Allusions to its old-clothes shops are
very frequent in eighteenth-century literature.
211. ‘In the deep bosom,’ etc. Richard III., Act I. Sc. 1.
‘At one fell swoop.’ Macbeth, Act IV. Sc. 3.
214. O’Connell. Hazlitt no doubt refers to the proceedings of
O’Connell after his election for Co. Clare in 1828.
215. ‘The soft collar,’ etc. Burke, Reflections on the Revolution in
France (Select Works, ed. Payne, II. 90).
‘The iron rod,’ etc. Cf.
‘When the scourge inexorably, and the torturing hour,
Calls us to penance.’ Paradise Lost, II. 90–2.

217. An editor. Cf. ante, p. 136.

218. ‘There goes my wicked self.’ Hazlitt was perhaps thinking of
the saying attributed to John Bradford (1510?–1555), who,
on seeing some criminals going to execution, is said to have
exclaimed: ‘But for the grace of God, there goes John
Bradford.’
‘To be honest,’ etc. Hamlet, Act II. Sc. 2.
L——.? Lamb.
219. ‘Leave others poor indeed.’ Cf. Othello, Act III. Sc. 3.
‘To be direct,’ etc. Othello, Act III. Sc. 3.
220. ‘Tout homme,’ etc. Cf. vol. I. (The Round Table), note to p.
117.
221. A popular author. Scott, no doubt.
‘Writes himself,’ etc. Cf. The Merry Wives of Windsor, Act I.
Sc. 1.
223. ‘To triumph,’ etc. Gray, The Bard, 142.
224. A certain bookseller. Sir Richard Phillips. See vol. VI. (Mr.
Northcote’s Conversations), p. 418.
225. ‘From every work,’ etc. The Faerie Queene, I. IV. 20.
226. ‘Melted,’ etc. Cf. Hamlet, Act I. Sc. 2.
Beau Didapper. See Joseph Andrews, Book IV. chap. IX.
228. ‘Damned spot.’ Macbeth, Act V. Sc. 1.
229. ‘The web,’ etc. All’s Well that Ends Well, Act IV. Sc. 3.
The Devil’s Elixir, etc. The Devil’s Elixir, or the Shadowless
Man, a musical romance by Edward Fitzball (1792–1873),
produced at Covent Garden, April 20, 1829; The Bottle
Imp, a melodrama by Richard Brinsley Peake (1792–1847),
produced at the Lyceum, July 7, 1828, and at Covent
Garden, Oct. 17, 1828.
Mr. Farley. Charles Farley (1771–1859), the actor, to whose
skill as a theatrical machinist at Covent Garden Hazlitt here
refers.
230. ‘La Belle Assemblée’s dresses for May.’ Cf. ‘In the manner of
—Ackerman’s dresses for May’ (Moore, Horace, XI. ii.),
quoted elsewhere by Hazlitt.
M. Stultz. M. Stulz, the well-known tailor, referred to by
Bulwer in Pelham and (more than once) by Thackeray.
 A CHAPTER ON EDITORS
Republished with some omissions in Sketches and Essays. In the
Magazine there is the following note by the Editor:—‘We give
insertion to this article, one of the posthumous papers of Mr. Hazlitt,
to shew that we do not consider ourselves implicated in the abuses
complained of; and that we have no right to any share of indignation
so whimsically lavished upon our fraternity. Ed.’

PAG
E ‘Our withers,’ etc. Hamlet, Act III. Sc. 2.
230. ‘Tittle-tattle.’ The phrase is so printed in the Magazine and in
Sketches and Essays, but Hazlitt probably wrote ‘kittle
cattle,’ a distinctively Scots expression for what he meant to
say.
‘Lay the flattering unction,’ etc. Cf. Hamlet, Act III. Sc. 4.
231. As Mr. Horne Tooke said, etc. See vol. IV. (The Spirit of the
Age), p. 236 and note.
232. We only know one Editor. Hazlitt possibly refers to the
Editor of Blackwood’s Magazine.
We will not mention names, etc. This sentence was omitted in
Sketches and Essays.
‘More subtle web,’ etc. The Faerie Queene, II. xii. 77.
233. The conductor, etc. This sentence and the next but one were
omitted in Sketches and Essays.
‘Here’s the rub.’ Cf. Hamlet, Act III. Sc. 1.
 THE LETTER-BELL
Reprinted with considerable omissions in Sketches and Essays.

235 ‘One entire,’ etc. Othello, Act V. Sc. 2

Blue hills. Cf. vol. VI. (Table-Talk), p. 256.
236. ‘I should notice,’ etc. A long passage from this point to
‘accumulate to a tolerable sum’ (p. 237) was omitted from
Sketches and Essays.
From —— to ——. Sketches and Essays reads ‘From Wem to
Shrewsbury.’ Cf. My First Acquaintance with Poets, post,
p. 260.
‘And by the vision splendid,’ etc. Cf. Wordsworth’s Ode,
Intimations of Immortality, 73–74.
‘What though the radiance,’ etc. Ibid. 179–82.
‘Like morn,’ etc. Cf. Paradise Lost, v. 310–11.
And may he not yet greet the yellow light, etc. Cf. post, p.
271.
‘And from his neck so free,’ etc. The Ancient Mariner, 289–
91.
238. Vangoyen. Jan Van Goyen (1596–1666), one of whose
landscapes, it would seem, Hazlitt had copied.
‘The slow canal,’ etc. Goldsmith, The Traveller, 293–4.
‘While with an eye,’ etc. Wordsworth, Lines composed a few
miles above Tintern Abbey, 47–49.
‘The secrets,’ etc. Cf. Hamlet, Act I. Sc. 5.
‘Entire affection,’ etc. Cf. The Faerie Queene, I. viii. 40.
‘His shame,’ etc. Cf. Goldsmith, The Deserted Village, 412.
‘Made good digestion,’ etc. Cf. Macbeth, Act III. Sc. 4.
239. An ingenious friend and arch-critic. ? Jeffrey.
‘More germain [germane],’ etc. Hamlet, Act V. Sc. 2.
240. ‘Hark!’ etc. Cowper, The Task, IV. 1, et seq.
Lord Byron denies, etc. See vol. VI. (Table-Talk), p. 210 and
note, and vol. XI. (Fugitive Writings), p. 492.
240. The telegraphs. A system of semaphores, presumably.
Electric telegraphs belong to a later date.
The new revolution. The Revolution of July 1830. Cf. post,
pp. 456, et seq.
The beacon-fires. See the Agamemnon of Æschylus, ll. 281–
316.
 ON THE SPIRIT OF MONARCHY
Republished in Literary Remains. The essay was published (?
1835) as a pamphlet (together with ‘The Moral Effects of
Aristocracy,’ by Godwin).

PAG
E ‘And by the vision,’ etc. See ante, note to p. 236.
242. The madman in Hogarth. The Rake’s Progress, Plate VIII.

‘There goes,’ etc. Cf. ante, p. 218.

We once heard, etc. In vol. VI. (Mr. Northcote’s
Conversations), p. 387, this sentiment is attributed to a
‘Mr. R——.’ It is clear from the present passage that this
person was not Mr. Railton, but William Roscoe (1753–
1831), the well-known historian, and that therefore the
reading of The London Weekly Review was correct. See
note to vol. VI. p. 387.
243. ‘That within,’ etc. Cf. Hamlet, Act I. Sc. 2.
‘To fear,’ etc. Othello, Act I. Sc. 2.
244. ‘Peep through,’ etc. Macbeth, Act I. Sc. 5.
‘Great is Diana,’ etc. Acts xix. 28.
‘Your gods,’ etc. Cf. S. Matthew xiii. 13.
In contempt of their worshippers. Cf. Burke’s Reflections on
the Revolution in France (Select Works, ed. Payne, II. 17).
Note. Dryden, Absalom and Achitophel, I. 100–3.
245. ‘Gods partial,’ etc. Pope, An Essay on Man, III. 257–8.
‘Any mark,’ etc. Cf. I Henry IV. Act III. Sc. 2.
246. Note. See vol. III. (Political Essays), p. 298 and notes.
247. ‘From the crown,’ etc. Cf. Isaiah i. 6.
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