"To such as could enjoy the rough and fa_Shakspeare and His Times [Vol. 1 of 2] Including the Biography of the Poet; criticisms on his genius and writings; a new chronology of his plays; a disquisition on the on the object of his sonnets; and a history of the manners, customs, and amusements, superstitions, poetry, and elegant literature of his age

metaphysical verses, this Collection must have appeared inexpressibly

insipid and contemptible. To those whose business it was to draw

similitudes from the most remote recesses of abstruse learning, how

childish must seem the delineation of flowers that were open to every

eye, and images which found a mirror in every bosom!!

"But, O, how dull is the intricate path of the philosopher, how

uninteresting is all the laboured ingenuity of the artist, compared

with the simple and touching pleasures which are alike open to the

peasant, as to the scholar, the noble, or the monarch! It is in the

gift of exquisite senses, and not in the adventitious circumstances of

birth and fortune, that one human being excels another!

"The common air, the sun, the skies,

To him are opening Paradise."

"We are delighted to see reflected the same feelings, the same

pleasures from the breasts of our ancestors. We hear the voices of

those bearded chiefs, whose portraits adorn the pannels of our halls

and galleries, still bearing witness to the same natural and eternal

truths; still inveighing against the pomp, the fickleness, and the

treachery of courts; and uttering the songs of the shepherd and the

woodman, in language that defies the changes of time, and speaks to all

ages the touching effusions of the heart.

"If some little additional prejudice in favour of these compositions be

given by the association in our ideas of their antiquity, if we connect

some reverence, and some increased force, with expressions which were

in favourite use with those who for two centuries have slept in the

grave, the profound moral philosopher will neither blame nor regret

this effect. It is among the most generous and most ornamental, if not

among the most useful habits of the mind!

"Such are among the claims of this Collection to notice. But the seal

that has been hitherto put upon this treasure; the deep oblivion in

which the major parts of its contents have for ages been buried, ought

to excite curiosity, and impart a generous delight at its revival.

Who is there so cold as to be moved with no enthusiasm at drawing the

mantle from the figure of Time? For my part, I confess how often I have

watched the gradual developement with eager and breathless expectation;

and gazed upon the reviving features till my warm fancy gave them a

glow and a beauty, which perhaps the reality never in its happiest

moments possessed."[723:A]

That very nearly two hundred years should have elapsed between the

second and third editions of this miscellany is a striking proof of the

neglect to which even the best of our ancient poetry has been hitherto

subjected. The rapidly increasing taste of the present age, however,

for the reliques of long-departed genius, cannot fail of precluding in

future any return of such undeserved obscurity.

In 1600 the industry of Robert Allot presented the public with a large

collection of extracts from the most popular poets of his times, under

the title of "ENGLAND'S PARNASSUS: or the choysest flowers of our

moderne poets, with their poeticall comparisons. Descriptions of

Bewties, Personages, Castles, Pallaces, Mountaines, Groves, Seas,

Springs, Rivers, &c. Whereunto are annexed other various discourses,

both pleasant and profitable." Small 8vo. pp. 510.

Had the editor of this curious volume, beside citing the names of

his authors, added the titles of the works from which he culled his

specimens, an infinity of trouble would have been saved to subsequent

research; yet the deficiency has served, in a peculiar manner, to

mark the successful progress of modern bibliography. When Oldys wrote

his Preface to Hayward's British Muse, which was first published in

1738, he complains grievously of this omission, observing that most

of Allot's poets "were now so obsolete, that not knowing what they

wrote, we can have no recourse to their works, if still extant."[724:A]

Since this sentence was written, such has been the industry of our

literary antiquaries, that almost every poem which Allot laid under

contribution in forming his volume, has been ascertained, and rendered

accessible to the curious enquirer; and so far from the writers being

obsolete, after nearly eighty years have been added to their antiquity,

we may venture to affirm that, excepting about half-a-dozen, they are

as familiar to us as the poets of the present reign. It is but just,

however, to acknowledge that a considerable portion of this intimacy

may be ascribed to Allot's book, which, by its numerous passages from

bards rendered scarce by neglect, has stimulated the bibliographical

enthusiasm of the last twenty years to achieve their detection. An

enumeration of the contributors to England's Parnassus, will serve to

illustrate and confirm these remarks:—

1. Thomas Achelly.

2. Thomas Bastard.

3. George Chapman.

4. Thomas Churchyard.

5. Henry Constable.

6. Samuel Daniel.

7. John Davies.

8. Thomas Dekkar.

9. Michael Drayton.

10. Edmund Fairfax.

11. Charles Fitzgeffrey.

12. Abraham Fraunce.

13. George Gascoigne.

14. Edward Gilpin.

15. Robert Greene.

16. Sir John Harrington.

17. John Higgins.

18. Thomas Hudson.

19. James, King of Scots.

20. Benjamin Jonson.

21. Thomas Kyd.

22. Thomas Lodge.

23. Gervase Markham.

24. Christopher Marlowe.

25. John Marston.

26. Christopher Middleton.

27. Thomas Nash.

28. Oxford, Earl of.

29. George Peele.

30. Matthew Roydon.

31. Sackville, Lord Buckhurst.

32. William Shakspeare.

33. Edmund Spenser.

34. Thomas Storer.

35. Surrey, Earl of.

36. Sir Philip Sidney.

37. Joshua Sylvester.

38. George Turberville.

39. William Warner.

40. Thomas Watson.

41. John Weever.

42. William Weever.

43. Sir Thomas Wyatt.

Though Oldys has severely blamed the judgment of the editor in his

selection of authors and extracts, yet a much more consummate critic,

the highly-gifted Warton, considers him as having exhibited taste in

his choice, and it must be acknowledged that the volume has preserved

many exquisite passages from poets who, but for this selection, had

probably been irrecoverably merged in oblivion.

In the same year with England's Parnassus came forth another

compilation, to which its editor, _John Bodenham_, gave the following

title: "BEL-VEDERE, OR THE GARDEN OF THE MUSES.

Quem referent Musæ vivet, dum robora tellus,

Dum cælum stellas, dum vehit amnis aquas.

Imprinted at London, by F. K. for Hugh Astley, dwelling at Saint Magnus

Corner. 1600." Small 8vo. pp. 236.

This collection, which underwent a second impression in 1610, with the

omission of its first appellative, Bel-vedere, though it contain a vast

number of quotations, is, on two accounts, inferior to the "Parnassus."

In the first place, no authors' names are annexed to the extracts,

and, in the second, a much greater defect has arisen from the editor's

determination to confine his specimens to one or two lines at most, a

brevity which almost annihilates the interest of the work. To obviate,

however, in some degree, the inconveniences arising from the first

of these plans, he has recourse, in his _Proemium_, to the following

detail, which, as it gives a very curious narrative of the construction

of the book, will have its due value with the reader:—

"Now that every one may be fully satisfied concerning this Garden, that

no man doth assume to him-selfe the praise thereof, or can arrogate

to his owne deserving those things, which have been derived from so

many rare and ingenious spirits; I have set down both how, whence, and

where, these flowres had their first springing, till thus they were

drawne together into the Muses Garden; that every ground may challenge

his owne, each plant his particular, and no one be injured in the

justice of his merit.

"First, out of many excellent speeches, spoken to her Majestie, at

tiltings, triumphes, maskes, and shewes, and devises perfourmed in

prograce: as also out of divers choise ditties sung to her; and some

especially, proceeding from her owne most sacred selfe! Here are

great store of them digested into their meete places, according as

the method of the worke plainly delivereth. Likewise out of private

poems, sonnets, ditties, and other wittie conceits, given to her

honourable Ladies and vertuous Maids of Honour; according as they could

be obtained by sight, or favour of copying, a number of most wittie

and singular sentences. Secondly, looke what workes of poetrie have

been put to the world's eye, by that learned and right royall king and

poet, James King of Scotland; no one sentence of worth hath escaped,

but are likewise here reduced into their right roome and place. Next,

out of sundrie things extant, and many in private, done by these right

honourable persons following:

Thomas, (Henry) Earl of Surrey.

The Lorde Marquesse of Winchester.

Mary Countess of Pembrooke.

Sir Philip Sidney.

"From poems and workes of these noble personages extant:

Edward, Earle of Oxenford.

Ferdinando, Earle of Derby.

Sir Walter Raleigh.

Sir Edward Dyer.

Fulke Grevile, Esq.

Sir John Harrington.

"From divers essayes of their poetrie; some extant among other

honourable personages writings, some from private labours and

translations.

Edmund Spencer.

Henry Constable, Esq.

Samuel Daniell.

Thomas Lodge, Doctor of Physicke.

Thomas Watson.

Michaell Drayton.

John Davies.

Thomas Hudson.

Henrie Locke, Esq.

John Marstone.

Chr. Marlowe.

Benjn. Johnson.

William Shakspeare.

Thomas Churchyard, Esq.

Tho. Nash.

Tho. Kidde.

Geo. Peele.

Robert Greene.

Josuah Sylvester.

Nicolas Breton.

Gervase Markham.

Thomas Storer.

Robert Wilmot.

Chr. Middleton.

Richard Barnefield.

"These being moderne and extant poets, that have lived together, from

many of their extant workes, and some kept in private.

Thomas Norton, Esq.

George Gascoigne, Esq.

Frauncis Hindlemarsh, Esq.

Thomas Atchelow.

George Whetstones.

"These being deceased, have left divers extant labours, and many more

held back from publishing, which for the most part have been perused,

and their due right here given them in the Muses Garden.

"Besides, what excellent sentences have been in any presented Tragedie,

Historie, Pastorall, or Comedie, they have been likewise gathered, and

are here inserted in their proper places."[727:A]

It will be perceived that eleven poets are here enumerated, who had

no share in England's Parnassus; and it may be worth while to remark,

that, among the verses prefixed in praise of the book, are some lines

by _R. Hathway_, whom Mr. Malone conjectures to have been the kinsman

of _Ann Hathaway_, the wife of our immortal bard.[727:B]

A small contribution of pieces by a few of the chief poets of the age,

was, in 1601, annexed to a production by Robert Chester, entitled,

"LOVE'S MARTYR, OR ROSALIN'S COMPLAINT, allegorically shadowing the

Truth of Love in the constant fate of the Phœnix and Turtle. A poem,

enterlaced with much varietie and raritie; now first translated out of

the venerable Italian Torquato Cæliano, by Robert Chester. With the

true legend of famous King Arthur, the last of the nine worthies; being

the first Essay of a new British poet: collected out of authenticall

records. _To these are added some new compositions of several modern

writers; whose names are subscribed to their severall workes; upon the

first subject; viz. the Phœnix and Turtle._"

These _new compositions_ have the following second title immediately

preceding them: "_Hereafter follow diverse poetical essaies on the

former subject; viz. the Turtle and Phœnix. Done by the best and

chiefest of our modern writers, with their names subscribed to their

particular workes. Never before extant. And now first consecrated by

them all generally to the love and merit of the truly noble Knight, Sir

John Salisburie._"

The only known copy of this collection was in Major Pierson's

possession, and it is solely from Mr. Malone, to whom we are indebted

for the above titles, that we learn the names of the principal

contributors; these are _Shakspeare_, _Ben Jonson_, _Marston_, and

_Chapman_.[728:A] Shakspeare's contribution forms the twentieth poem in

"The Passionate Pilgrim," commencing

"Let the bird of loudest lay," &c.

A miscellany upon a more extensive scale than the preceding, and

of great value for the taste exhibited in its selection, succeeded

in 1602, under the appellation of "A POETICAL RAPSODÎE; containing

diverse Sonnets, Odes, Elegies, Madrigals, Epigrams, Pastorals,

Eglogues, with other Poems, both in Rime and Measured Verse. For

varietie and pleasure, the like never yet published.

The Bee and Spider by a diverse power,

Sucke hony and poyson from the selfe-same flower.

London. 12mo."

The editor and principal contributor, was _Francis Davison_, a poet of

no mean talents, and son of that Secretary of State, who experienced in

so remarkable a degree the duplicity of Elizabeth, in relation to Mary

Queen of Scots. In an Address to the Reader, he thus accounts for the

form which the volume assumes:—"Being induced by some private reasons,

and by the instant entreaty of speciall friends, to suffer some of

my worthlesse poems to be published, I desired to make some written

by my deere friends _Anonymoi_, and my deerer _Brother_, to beare

them company: both, without their consent; the latter being in the

low-country warres, and the rest utterly ignorant thereof. My friends

names I concealed; mine owne and my brother's, I willed the printer to

suppresse, as well as I had concealed the other, which he having put in

without my privity, we must now undergo a sharper censure perhaps than

our namelesse workes should have done; and I especially. For if their

poems be liked, the praise is due to their invention; if disliked, the

blame both by them and all men will be derived upon me, for publishing

that which they meant to suppresse."

He then enters upon a defence of poetry, experience proving, he

remarks, "by examples of many, both dead and living, that divers

delighted and excelling herein, being princes or statesmen, have

gouerned and counselled as wisely; being souldiers, have commanded

armies as fortunately; being lawyers, have pleaded as judicially and

eloquently; being divines, have written and taught as profoundly; and

being of any other profession, have discharged it as sufficiently, as

any other men whatsoever;" and concludes by alleging, as an excuse "for

these poems in particular, that those under the name of _Anonymos_

were written (as appeareth by divers things to Sir Philip Sidney

living, and of him dead) almost twenty years since, when poetry was

farre from that perfection to which it hath now attained: that my

brother is by profession a souldier, and was not eighteen years old

when he writ these toys: that mine owne were made most of them sixe or

seven yeares since, at idle times as I journeyed up and downe during my

travails."

The division of the "Rapsodie" more peculiarly occupied by these

kindred bards, is that including "Sonnets, Odes, Elegies, Madrigals,

and Epigrams, by Francis and Walter Davison, brethren;" and they were

assisted in that, and the residue of the work, by Spenser, Sidney,

Sir John Davis, Mary Countess of Pembroke, Thomas Campion, Thomas

Watson, Charles Best, Thomas Spelman, and by others, whose initials are

supposed to indicate Henry Constable, Walter Raleigh, Henry Wotton,

Robert Greene, Andrew Willet, and Joshua Sylvester.[730:A]

The "Poetical Rapsodie" is dedicated by Davison in a sonnet, "To the

most noble, honorable, and worthy Lord William Earl of Pembroke, Lord

Herbert of Cardiffe, Marmion, and St. Quintine," and was successively

republished with augmentations in 1608, 1611, and 1621. It may be

said to present us, not only with a felicitous choice of topics, but

it claims the merit of having preserved several valuable poems not

elsewhere to be discovered, and which, owing to the rarity of the book,

although four times subjected to the press, have not, until lately,

attracted the notice that is due to them.

Independent of the _ten_ miscellanies which we have now enumerated, an

immense multitude of _Airs_, _Madrigals_, and _Songs_, set to music,

and printed in Parts, were published during the latter part of the

reign of Elizabeth, and during the reign of James the First. These

Collections contain a variety of lyric poems not elsewhere to be met

with, and which were either written expressly for the Composers, or

selected by the latter from manuscripts, or rare and insulated printed

copies. Foremost among these Professors of Music, who thus indirectly

contributed to enrich the stores of English Poetry, stands _William

Byrd_. This celebrated composer's first printed work in English was

licensed in 1587, and has the following title:—"_Tenor. Psalmes,

Sonets, and Songs of sadnes and pietie, made into musicke of five

parts: whereof, some of them going a broad among divers, in untrue

coppies, are heere truely corrected, and the other being Songs very

rare and newly composed, are heere published, for the recreation of all

such as delight in Musicke. By William Byrd, one of the Gent. of the

Queene's Maiesties Royall Chappell._" 4to.

The volume is dedicated to Sir Christopher Hatton; and he tells his

reader, in an epistle subscribed the most assured friend to all that

love or learne musicke, William Byrd,—"heere is offered unto thy

courteous acceptation, musicke of sundrie sorts, and to content divers

humors. If thou bee disposed to pray, heere are psalmes. If to bee

merrie, heere are sonets. If to lament for thy sins, heere are songs

of sadnesse and pietie. If thou delight in musicke of great cõpasse,

heere are divers songs, which beeing originally made for instruments to

expresse the harmony, and one voyce to pronounce the dittie, are now

framed in all parts for voyces to sing the same. If thou desire songs

of smal compasse and fit for the reach of most voyces, heere are most

in number of that sort."

Next to Byrd, whose publications of this kind are numerous, we may

mention _Thomas Morley_, no less remarkable for his skill in music,

and for his fertility in the production of _madrigals_, _ballets_, and

_canzonets_. How fashionable and universal had become the practice of

singing these compositions at every party of amusement, may be drawn

from one of the elementary works of this writer:—"Being at a banquet,"

he relates, "supper being ended, and music books brought to table, the

mistress of the house, _according to custom_, presented me with a part,

earnestly intreating me to sing; when, after many excuses, I protested

unfeignedly that I could not, _every one began to wonder_, yea, some

whispered to others demanding _how I was brought up_."[732:A]

Of the various collections of lyric poetry adapted to music and

published by Morley, who died about the period of the accession of

James the First, we shall notice two; one as indicatory of the manners

of the age, and the other of the estimation in which the science was

held by our composer, who seems, on this occasion, to have partaken

the enthusiasm of Shakspeare; for in a dedication, "To the Worshipfull

Sir Gervis Clifton, Knight," prefixed to "_Madrigals to five voyces.

Selected out of the best approved Italian Authors. By Thomas Morley,

Gentleman of hir Maiesties Royall Chappell_, 1598," he tells his

worthy patron, "I ever held this sentence of the poet, as a canon of

my creede; _That whom God loveth not, they love not Musique_. For as

the Art of Musique is one of the most Heavenly gifts, so the very love

of Musique (without art) is one of the best engrafted testimonies of

Heavens love towards us."

In 1601, Morley published in quarto, "Cantus Madrigales. The triumphes

of Oriana, to 5 and 6 voices: composed by divers severall aucthors,"—a

collection remarkable for its object, as it consisted of twenty-five

songs, composed by twenty-four several musicians, for the express

purpose of commemorating the beauty and virginity of Elizabeth, under

the appellation of Oriana, and who was now in the sixty-eighth year of

her age, one, among innumerable proofs, of the extreme vanity of this

singular woman.

That a great proportion of these musical miscellanies consisted of

translations from the Italian, is evident from the publications of

_Byrd_ and _Morley_, and from the _Musica Transalpina_ of _Nicolas

Yonge_, printed in two parts, in the years 1588 and 1597, where,

however, equal industry appears to have been exerted in collecting

English songs; the dedication, indeed, points out very distinctly the

sources whence these popular works were derived. "I endeavoured," says

Yonge, "to get into my hands all such English songes as were praise

worthie, and amongst others I had the hap to find in the hands of some

of my good friends certaine Italian Madrigales translated most of them

five years ago by a gentleman for his private delight." The two parts

of Musica Transalpina contain eighty-one songs.

It seems probable, indeed, from _Orlando Gibbons_'s dedication of his

"First set of Mardrigals and Mottets" to Sir Christopher Hatton, dated

1612, that the courtiers of that period sometimes employed themselves

in writing lyrics for their domestic Lutenists; for Orlando tells his

lord,—"They were most of them composed in your own house, and do

therefore properly belong unto you as lord of the soil; _the language

they speak you provided them_; I only furnished them with tongues to

utter the same." It may be, however, that Sir Christopher was only a

selector of poetry for the lyre of Gibbons.

To enumerate the multitude of music-stricken individuals, who, during

this period, were occupied in procuring and collecting lyric poetry

for professional purposes, would fill a volume. Among the most

indefatigable, may be mentioned _John Wilbye_, _Thomas Weelkes_, _John

Dowland_ and _Robert Jones_; "_The Musicall Dream_," 1609, and "_The

Muse's Gardin of Delights_," 1610, by the last of these gentlemen, were

held in great esteem.

We cannot close this subject, indeed, without acknowledging our

obligations to this numerous class for the preservation of many most

beautiful specimens of lyric poetry, which, it is highly probable,

without their care and accompaniments, would either not have existed,

or would have perished prematurely.[733:A]

As a further elucidation of the Poetical Literature of this period, and

with the view of condensing its retrospect, by an arrangement under

general heads, it may prove satisfactory, if we briefly throw into

classes, the names of those poets who may be considered as having given

ornament or extension to their art. The following divisions, it is

expected, will include all that, in this place, it can now be necessary

to notice.

--------------------+-------------------+-------------

_Epic Poetry._ |_Historic._ |_Lyric._

--------------------+-------------------+-------------

Spenser. |Sackville. |Gascoigne.

|Higgins. |Greene.

|Niccols. |Raleigh.

|Warner. |Breton.

|Daniel. |Lodge.

|Drayton. |Shakespeare.

|Shakespeare. |Jonson.

|Marlow. |Wotton.

|Fitzgeffrey. |Wither.

|Storer. |

|Willobie. |

|Beaumont. |

--------------------+-------------------+-------------

_Didactic._ |_Satiric._ |_Sonnet._

--------------------+-------------------+-------------

Tusser. |Lodge. |Spenser.

Davies Sir J. |Hall. |Sidney.

Davors. |Marston. |Constable.

Fletcher G. |Donne. |Watson.

|Wither. |Shakespeare.

| |Daniel.

| |Drayton.

| |Barnes.

| |Barnefield.

| |Smith.

| |Stirling.

| |Drummond.

--------------------+-------------------+

_Pastoral._ |_Translators._ |

--------------------+-------------------+

Spenser. |Chapman. |

Chalkhill. |Harrington. |

Marlow. |Fairefax. |

Drayton. |Sylvester. |

Fairefax. |Golding. |

Brown. | |

We have thus, in as short a compass as the nature of the subject would

admit, given, we trust, a more accurate view of the poetry of the

Shakspearean era, as it existed independent of the Drama, than has

hitherto been attempted.

That Shakspeare was an assiduous reader of English Poetry; that he

studied with peculiar interest and attention his immediate predecessors

and contemporaries, there is abundant reason to conclude from a careful

perusal of his volume of miscellaneous poetry, which is modelled on a

strict adherence to the taste which prevailed at the opening of his

career. The collection, indeed, may, with no impropriety, be classed

under the two divisions of _Historic_ and _Lyric_ poetry; the former

concluding "Venus and Adonis," and the "Rape of Lucrece," and the

latter the "Sonnets," the "Passionate Pilgrim," and the "Lover's

Complaint."

The great models of Historic poetry, during the prior portion of

Shakspeare's life, were the "Mirror for Magistrates" and "Warner's

Albion's England;" but for the mythological story of Venus and

Adonis, though deviating in several important circumstances from its

prototype, we are probably indebted to Golding's Ovid; and for the Rape

of Lucrece and the structure of the stanza in which it is composed, to

the reputation and the metre of the _Rosamond_ of Daniel, printed in

1592. For the Sonnets, he had numerous examples in the productions of

Spenser, Sidney, Watson, and Constable; and, through the wide field of

amatory lyric composition, excellence of almost every kind, in the form

of ode, madrigal, and song, might be traced in the varied effusions of

Gascoigne, Greene and Raleigh, Breton and Lodge.

How far our great bard exceeded, or fell beneath, the models which he

possessed; in what degree he was independent of their influence, and to

what portion of estimation his miscellaneous poetry is justly entitled,

will be the subjects of the next chapter, in which we shall venture to

assign to these efforts of his early days a higher rank in the scale of

excellence than it has hitherto been their fate to obtain.

FOOTNOTES:

[596:A] Preface to Gondibert. Vide Chalmers's English Poets, vol. vi.

p. 351.

[597:A] Headley's Select Beauties of Ancient English Poetry, vol. i.

Introduction, p. 19. edit. 1810.

[602:A] Chalmers's English Poets, vol. vi. p. 4.

[602:B] Act ii.

[603:A] Vol. ix. p. 163.

[603:B] Arte of English Poesie, reprint of 1811. p. 49.

[603:C] Vide Censura Literaria, vol. ix. p. 47.

[603:D] Percy's Reliques, vol. iii. p. 62.

[603:E] Specimens of the Early English Poets, vol. ii. p. 240.

[603:F] Censura Literaria, vol. ix. pp. 159. 161.

[603:G] Shaw's Staffordshire, vol. i. p. 442. Ritson's Bibliographia

Poetica, p. 143.

[603:H] Chalmers's English Poets, vol. vi. p. 268. col. 2.

[604:A] Beloe's Anecdotes of Literature and Scarce Books, vol. vi. p.

58. et seq.

[604:B] It is sufficient praise, however, to remark, that Milton, both

in his L'Allegro and his Lycidas, is under many obligations to our

author.

[605:A] We are told by Prince, in his "Worthies of Devonshire," that as

Browne "had honoured his country with his sweet and elegant Pastorals,

so it was expected, and he also entreated a little farther to grace

it by his drawing out the line of his poetic ancestors, beginning in

Joseph Iscanus, and ending in himself." Had this design been executed,

how much more full and curious had our information been with regard to

Shakspeare and his contemporaries, and how much is it to be lamented

that so noble a scheme was relinquished.

Since these critical notices were written, Sir Egerton Brydges has

favoured the world with some hitherto unpublished poems of Browne;

productions which not only support the opinions given in the text, but

which tend very considerably to heighten our estimation of the genius

and imagination of this fine old bard.

[606:A] Muses Library, 1741. p. 315.

[606:B] Bagster's edit. 1808. p. 156. 276.

[607:A] Muses Library, pp. 317. 319. 327.

[607:B] See Beloe's Anecdotes, vol. ii. p. 83. Ritson has erroneously

dated this publication 1598.

[608:A] Vide Pope's Preface to the Iliad; and Warton's History of

English Poetry, vol. iii. p. 442, 443.

[609:A] In his "Challenge," he tells us, that his first publication was

"a book named _Davie Dicars Dream_, in King Edward's daies."

[609:B] This publication, which was likewise called "A Musicall Consort

of heavenly Harmonie," is not mentioned by Ritson.

[609:C] Vide Bibliographia Poetica, p. 169.

[610:A] Vide Birch's Memoirs of Queen Elizabeth, vol. i.; and Winwood's

Memor. vol. ii. p. 36.

[610:B] Underwood's edit. of 1640, folio, p. 196.

[610:C] Ancient British Drama, vol. i. p. 49. col. 1.

[610:D] Brydge's Theatrum Poetarum, p. 268.

[610:E] Athenæ Oxonienses, vol. i. p. 14.

[610:F] Origin of the English Drama, vol. iii. p. 212.

[610:G] Warton's Hist. of English Poetry, vol. iii. p. 292. note.

[610:H] Todd's Milton, 2d. edit. vol. vi. p. 439.

[612:A] Percy's Reliques, vol. i. p. 328.

[612:B] Park's Royal and Noble Authors, vol. iii. p. 167. note.

[612:C] Thus Drayton speaks of him as

——— "too much historian in verse.

His rhimes were smooth, his metres well did close;

But yet his manner better fitted prose;"

and Bolton describes his works as containing "somewhat a flat, but yet

withal a very pure and copious English, and words as warrantable as any

man's, and fitter perhaps for prose than measure."

[613:A] Brydges's Theatrum Poetarum, p. 273.

[614:A] Vide Bagster's edit. p. 128.

[618:A] Lord Woodhouslee, speaking of our author's poem entitled,

Forth Feasting, observes that it "attracted the envy as well as the

praise of Ben Jonson, is superior, in harmony of numbers, to any of

the compositions of the contemporary poets of England; and is, in its

subject, one of the most elegant panegyrics that ever were addressed by

a poet to a prince."—Life of Lord Kaimes.

[618:B] Theatrum Poetarum, p. 195. original edition.

[619:A] Dr. Johnson was of opinion that the translation of Mr.

Hoole would entirely supersede the labours of Fairefax. With no

discriminating judge of poetry, however, will this ever be the case;

there is a lameness and mediocrity in the version of Mr. Hoole, which

must always place it far beneath the spirited copy of the elder bard.

Had Mr. Brookes completed the Jerusalem with the same harmony and

vigour which he has exhibited in the first three books, a desideratum

in English literature had been supplied, and the immortal poem of Tasso

had appeared clothed in diction and numbers worthy of the most polished

era of our poetry.

[620:A] Muses Library, 1741. p. 363.

[620:B] Chalmers's English Poets, vol. vi. p. 295. col. 2.

[621:A] Censura Literaria, vol. ix. p. 53.

[621:B] Vide British Bibliographer, No. VII. p. 118.

[622:A] Chalmers's English Poets, vol. vi. p. 79. col. 2.

[622:B] Ibid. vol. vi. p. 81.

[624:A] Whetstone published a pamphlet, entitled, "A Remembrance of

the wel imployed life and godly end of George Gaskoigne Esquire, who

deceased at Stalmford in Lincolne Shire, the 7th of October 1577. The

reporte of George Whetstone Gent. an eye witness of his Godly and

charitable end in this world. _Formæ nulla Fides._ Imprinted At London

for Edward Aggas, dwelling in Pauls Churchyard and are there to be

solde." "Since the antiquities of poetry," observes Mr. Chalmers, "have

become a favourite study, many painful inquiries have been made after

this tract, but it could not be found in Tanner's Library, which forms

part of the Bodleian, or in any other collection, private or public,

and doubts were entertained whether such a pamphlet had ever existed.

About three years ago, however, it was discovered in the collection of

a deceased gentleman, a Mr. Voight, of the Custom-house, London, and

was purchased at his sale by Mr. Malone. It consists of about thirteen

pages small quarto, black letter, and contains, certainly not much

_life_, but some particulars unknown to his biographers."—English

Poets, vol. ii. p. 447, 448.

[624:B] For further particulars of his life see Chalmers's English

Poets, vol. ii. p. 447. et seq., Censura Literaria, vol. i. p. 110.,

and British Bibliographer, vol. i. 73.

[625:A] Gratulationes Valdinenses, edit. Binneman, 1578, 4to. lib. iv.

p. 22.

[625:B] In his Dedication prefixed to his Translation of Ten Books of

Homer.

[625:C] In his Address to Gentlemen Students, prefixed to Green's

Arcadia.

[625:D] Discourse of English Poetrie, 1586.

[625:E] Arte of Poesie, 1589, reprint, p. 51.

[626:A] Todd's Spenser, vol. i. p. 191. Glosse to November.

[626:B] Chalmers's English Poets, vol. ii. p. 455.

[626:C] Observations on the Fairy Queen, vol. ii. p. 168.

[626:D] Reed's Shakspeare, vol. ix. p. 144. note 4.

[627:A] Beloe's Anecdotes, vol. ii. p. 191. et seq.; and vol. vi. p. 1.

21.

[627:B] The reprint which has just appeared of our author's

_Philomela_, is a proof, however, that his prose was occasionally

the medium of sound instruction; for the moral of this piece is

unexceptionable. We may also remark, that the confessions wrung from

him in the hour of repentance are highly monitory, and calculated to

make the most powerful and salutary impression.

[628:A] Mason's Gray, p. 224.

[629:A] Vide Chalmers's English Poets, vol. v. p. 226.

[629:B] Warton's Hist. of English Poetry, vol. iii. p. 485.

[630:A] Nugæ Antiquæ, apud Park, vol. i. p. xxii.

[630:B] This writer terms Sir John "one of the most ingenious poets

of our English nation," and says "he was a Poet in all things, save

in his wealth, leaving a fair estate to a learned and religious

son."—Worthies, part iii. p. 28.

[630:C] They were also annexed to the third edition of the Translation

of "Orlando Furioso," fol. 1634.

[630:D] The popularity of these epigrams, notwithstanding their

poetical mediocrity, may be estimated from the opinion of the publisher

of the edition of 1625. "If in poetry," he remarks, "heraldry were

admitted, he would be found in happiness of wit near allied to the

great Sidney: yet but near; for the Apix of the Cœlum Empyrium is not

more inaccessible, than is the height of Sidney's poesy, which by

imagination we may approach, by imitation never attain to."—Dedication

to George Villiers Duke of Buckingham.

A subsequent writer has also gifted them with extraordinary longevity:—

"Still lives the Muse's Apollonian son,

The Phœnix of his age, rare HARINGTON!

Whose _Epigrams_, when time shall be no more,

May die, perhaps, but never can before."

Beedome's Poems, 1641.

Vide Nugæ Antiquæ, vol. i. p. xxiii.

[632:A] Edition of 1800, by Sir Egerton Brydges, p. 197, 198.

[632:B] Vide Beloe's Anecdotes of Literature, vol. ii. p. 114.

[632:C] Ibid. p. 115.

[633:A] Vide Beloe on Scarce Books, vol. ii. pp. 115-117.

[633:B] Reed's Shakspeare, vol. viii. p. 3.

[635:A] British Bibliographer, No. 11. Preface to England's Helicon,

pp. 6, 7.

[635:B] Biographia Dramatica, vol. i. p. 287. edit. 1782.

[635:C] Vol. ii. p. 159. et seq.

[635:D] Phillips's Theatrum apud Brydges, p. 199.

[636:A] Theatrum Poetarum, edit. of 1800, p. 113.

[636:B] Reed's Shakspeare, vol. vi. p. 318. Act iii. sc. 2.

[637:A] Miscellaneous Pieces of Antient English Poesie, preface.

[637:B] Ancient British Drama, vol. i. p. 49.

[637:C] Affaniæ, lib. ii. Ad Johannem Marstonium.

[638:A] British Bibliographer, vol. i. p. 363.

[639:A] Athenæ Oxon. vol. i. col. 402.

[639:B] "The Poems of Sir Walter Raleigh: now first collected. With a

Biographical and Critical Introduction:" Dedicated to William Bolland,

Esq.

[639:C] Phillips's Theatrum apud Brydges, p. 308, 309.

[639:D] Arte of English Poesie, reprint of 1811. p. 168.

[639:E] Phillips's Theatrum apud Brydges, p. 314, 315.

[640:A] Arte of English Poesie, reprint, p. 165. 167.

[640:B] Ibid. p. 51.

[640:C] Vide Phillips's Theatrum apud Brydges, p. 269.

[642:A] Biographical and Critical Introduction, pp. 43-46.

[642:B] The date of this nobleman's birth has been variously given:

thus Ritson affirms in his Bibliographia, p. 324., he was born in 1536;

and Sir Egerton Brydges in his edition of the "Theatrum Poetarum," also

expressly tells us, that "Sackville was not born till 1536," p. 66; but

in "The British Bibliographer" he has corrected this assertion, and

places his nativity in 1527, which is the true era, as he died aged 81,

in 1608.

[642:C] Park's edition of Lord Orford's Royal and Noble Authors, vol.

ii. p. 130.

[643:A] British Bibliographer, No. IV. p. 295.

[644:A] Specimens of the Early English Poets, 1st edit. vol. ii. p. 166.

[645:A] Vide Warton, vol. iii.; or, Phillips's Theatrum apud Brydges,

p. 268.

[645:B] Select Beauties of Antient English Poetry, vol. ii. Kett's

edit. pp. 2. 5. 86.

[645:C] Bibliographia Poetica, p. 340, 341.

[645:D] Censura Literaria, vol. vi. p. 285-298.

[646:A] Book ii. Song 1. See Chalmers's English Poets, vol. vi. p. 276.

col. 2.

[646:B] Poems, edit. 1658. p. 8.

[646:C] Preface to Spenser's View of the State of Ireland, 1633.

[647:A] Epigrammatum Libri quatuor, 1607, p. 100. For this striking

testimony we are indebted to Mr. Todd's valuable edition of Spenser,

vol. i. p. cxxi.

[647:B] To the charge of "critical negligence," in this respect, I am

sorry to say, that I must plead guilty in my "Literary Hours;" where,

in delineating the character of Spenser, I have brought forward this

accusation of _obsolete diction_, without the proper discrimination.

Vide Literary Hours, 3d edit. vol. ii. p. 161.—In every other respect

I consider the criticism as correct. I had then read Spenser but twice

through; a further familiarity with the Fairie Queene has induced me to

withdraw the censure, and to accede to the opinion of Mr. Malone, who

conceives the language of the _Fairie Queene_ to have been "perfectly

intelligible to every reader of poetry in the time of Queen Elizabeth,

though the _Shepheards Calendar_ was not even then understood without a

commentary."—See his Dryden's Prose Works, vol. iii. p. 94.

[649:A] It is impossible to view the portrait prefixed to Mr. Todd's

valuable edition of Spenser, without being incredulous as to its

authenticity. There is a pertness and satirical sharpness in its

expression very inconsistent, not only with the disposition of the

poet, but with the features given to him in every other representation,

of which the leading character is an air of pensive sweetness.

[650:A] Royal and Noble Authors apud Park, vol. v. p. 73.

[650:B] Chalmers's English Poets, vol. v. p. 298.

[651:A] Orford's Royal and Noble Authors apud Park, vol. v. p. 76.

[652:A] "Its rude grandeur, its immense hall, its castellated form, its

numerous apartments, well accord with the images of chivalry, which the

memory of Sydney inspires."—British Bibliographer, vol. i. p. 293.

[652:B] Zouch's Life of Sydney, 4to. p. 256.

[653:A] Vide Poems, 1807, 12mo. 4th. edit.; and British Bibliographer,

vol. i. p. 81-105. and 289-295. Censura Literaria, vol. ii. p. 175. et

seq.; and vol. iii. p. 389.

[653:B] Considerations on Milton's Early Reading, and the Prima Stamina

of his Paradise Lost; together with Extracts from a Poet of the

Sixteenth Century. In a Letter to William Falconer, M. D., from Charles

Dunster, Esq. M. A. London, 1800.

[653:C] Vide Wood's Athenæ, vol. i. p. 594.; and Phillips's Theatrum.

[654:A] For further observations on, and numerous extracts from,

Sylvester's Du Bartas, see Dunster's Considerations, and Drake's

Literary Hours, 3d edit. vol. iii. Nos. 49, 50, and 51.

[655:A] One of the Epigrams prefixed to the folio edition of

Sylvester's Works. Ten pages in the copy of 1641 are occupied by

commendatory Poems on the Translator.

[655:B] Lines by Viccars, under the portrait of Sylvester, in the

edition of 1641.

[656:A] Vide Preliminary Dissertation to his edition of Tusser, pp. 5.

13. 20, 21. 25.

[657:A] British Bibliographer, No. III. p. 286.

[657:B] Preface to his Translation of Conradus Heresbachius, printed in

1596, and 1601.

[658:A] Bibliographia Poetica, p. 374.

[658:B] See Sharpe's British Poets, No. LXXIX. p. 17. note 20.

[659:A] Ritson's Bibliographia Poetica, p. 384.

[659:B] Reliques, vol. ii. p. 239. 4th edit.

[659:C] Wit's Academy, part ii. p. 280. edit. of 1598.

[659:D] Of Poets and Poesy, Chalmers's English Poets, vol. iv. p. 399.

col. 2.

[660:A] Edit. 1741. p. 157.

[660:B] Vol. ii. p. 238.

[660:C] Vol. iv. p. 499.

[661:A] British Bibliographer, No. XII. p. 7.

[661:B] Ibid. p. 5. 7.

[663:A] British Bibliographer, No. XII. p. 3, 4.

[663:B] Reed's Shakspeare, vol. i. p. 31.

[663:C] Epistle prefixed to Greene's Menaphon.

[663:D] Foure Letters and certaine Sonnets, 1592.

[663:E] Censura Literaria, vol. ix. p. 47.

[664:A] In the Apologie of Dorrell, dated 1596, and annexed to the

second edition, he tells us, that "this poetical fiction was penned by

the author at least for thirty and five yeares sithence." "If there

was sufficient ground for this assertion," remarks Mr. Haslewood, "it

fixes the time of the composition about 1561, and supposing the author

then, as seems reasonable to presume, to have attained his twenty-first

year, it places the time of his birth, as conjecturally fixed by Mr.

Ellis, at 1540. However, some doubt arises whether this inference is

not contradicted by the preface of 1594; which describes the author

not only as 'a scholar of very good hope,' but also as a 'young man,'

who, desirous of seeing the fashions of other countries, had, 'not long

sithence,' departed voluntarily in Her Majesty's service. Here the

most enlarged meaning bestowed on the expression 'not long sithence,'

can neither explain the sentence that calls him a 'scholar of very

good hope,' nor that of a 'young man,' whereby they shall be terms

applicable to a person who had written thirty years before, and from

the above inference might have been then in the fifty-fourth year of

his age. It is probable the preface may be relied on; otherwise the

author's departure from this country will be found too remote for the

term of any voluntary engagement, civil or military, that could be

attached to foreign service. Dorrell's subsequent anachronism may be

ascribed to inadvertency: to a zealous, but hurried attempt to parry

the attack of the critic, by the supposed youth of the writer; and

by fixing the composition at a period sufficiently early to prevent

an unfavourable comparison with more recent productions." British

Bibliographer, No. XIV. p. 242.

[664:B] The term _hexameter_ is here meant to designate stanzas

consisting of _six lines_.

[664:C] Ritson dates this fourth impression 1609, but Mr. Haslewood

1605: see Brit. Bibliogr., No. XIV. p. 241.

[665:A] Brit. Bibliogr., No. XIV. p. 243.

[665:B] Ibid., p. 245.

[666:A] Brit. Bibliogr., No. III. p. 17, et seq.

[666:B] At the end of his "Fides Anglicanæ," 1660.

[666:C] In his "Warning-piece to London," 1665.

[667:A] Vide Preface to "Abuses Stript and Whipt."

[668:A] Brit. Bibliogr., No. I. p. 4, 5.

[668:B] A Selection from Wither's Works, in three volumes 8vo.,

was promised, five years ago, by a gentleman of Bristol. In 1785

Mr. Alexander Dalrymple published Extracts from his Juvenilia; and

"Fidelia," "Faire Virtue," "The Shepheard's Hunting," and "Abuses

Stript and Whipt," are now separately reprinting from the press of

Longman and Co.—October 1814.

[669:A] Restituta, No. VI. p. 394, 395.

[669:B] Theatrum Poetarum, edition of 1675.

[670:A] Reliques, vol. iii., 4th edit. p. 190-264.

[671:A] Dalrymple's Extracts from Wither's Juvenilia, 1785.

[672:A] "Laura: or an Anthology of Sonnets." By Capel Lofft. 5 vols.

Preface, vol. i. p. cxliv. cxlv.

[673:A] Theatrum Poetarum apud Brydges, p. 318, 319.

[674:A] Observations on Spenser, vol. i. p. 155, 156.

[674:B] It may be useful in this note, to place, in immediate

juxta-position, the names of the Poets whom we have thus enumerated,

as leaders of a great portion of their Art, during a period of half a

century.

1. Beaumont, Sir John.

2. Breton.

3. Browne.

4. Chalkhill.

5. Chapman.

6. Churchyard.

7. Constable.

8. Daniel.

9. Davies.

10. Davors.

11. Donne.

12. Drayton.

13. Drummond.

14. Fairfax.

15. Fitzgeffrey.

16. Fletcher, Giles.

17. Fletcher, Phineas.

18. Gascoigne.

19. Greene.

20. Hall.

21. Harrington.

22. Jonson.

23. Lodge.

24. Marlow.

25. Marston.

26. Niccols.

27. Raleigh.

28. Sackville.

29. Southwell.

30. Spenser.

31. Stirling.

32. Sydney.

33. Sylvester.

34. Turberville.

35. Tusser.

36. Warner.

37. Watson.

38. Willobie.

39. Wither.

40. Wotten.

Lane.

[677:A] "Here, through the course of twenty sonnets, not inelegant,

and which were exceedingly popular, the poet bewails his unsuccessful

love for a beautiful youth, by the name of Ganymede, in a strain of the

most tender passion, yet with professions of the chastest affection."

Warton's Hist. vol. iii. p. 405.—It was the fashion, at this period,

to imitate the second Eclogue of Virgil.

[677:B] The Sonnets of Barnes, which are written in strict adherence

to the recurring _rima_ of the Italian school, frequently possess

no inconsiderable beauties. The Sonnet on Content, selected by Mr.

Beloe (vol. ii. p. 78.), from Parthenophil, is highly pleasing and

harmonious, and at least twenty of his centenary may be pronounced,

both in imagery and versification, above mediocrity.

[677:C] Sheppard, in his Poems, 1651, remarks that "none in England,

save Bastard and Harington, have divulged epigrams worth notice." A

beautiful specimen of his Epigrams is given by Mr. Park, in Censura

Literaria, vol. iv. p. 375.

[677:D] To this poet, Nash dedicated his "Strange Newes," &c. 1592, in

the subsequent curious terms: "To the most copious carminist of our

time, and famous persecutor of Priscian, his verie friend maister _Apis

lapis_."—Vide Ritson, p. 131. note.

[678:A] For an account of this author, see British Bibliographer, No.

VIII. p. 235. In this, as in other instances, I have only inserted the

pieces published during the life of Shakspeare.

[678:B] Two pieces by this writer, entitled "The Mourning Muse of

Thestylis," and "A Pastorall Aeglogue upon the Death of Sir Philip

Sidney," have been inserted in Spenser's Works (Todd's edit. vol.

viii. p. 66. et seq.), and probably form the contents of "The Mourning

Muses." He is described by Spenser as a swain

"Of gentle wit and daintie sweet device,"

and if, as Ritson asserts, (Bibliograph. Poet. p. 146,) "we probably

owe much that has descended to us of the incomparable "Faery Queen,"

to this poet, we are greatly his debtors indeed. That Bryskett had

importuned his friend for the continuance of his immortal poem, is

evident from Spenser's thirty-third sonnet, which pleads, as an excuse,

disappointment in love, and closes with the following petitionary

couplet:—

"Cease then, till she vouchsafe to grawnt me rest;

Or lend you me another living breast."

Vol. viii. p. 137.

Bryskett succeeded Spenser as Clerk of the Council of Munster.

[679:A] To these poems by Chester, are added on the first subject,

which, he tells us, "allegorically shadows the truth of love, in the

constant fate of the phœnix and turtle," poems by Shakspeare, Jonson,

Marston, Chapman, and others.—Vide Ritson, p. 159.

[679:B] Ritson remarks,—"This is probably the poem alluded to in the

_Midsummer-Night's Dream_:—

"Not Shafalus to Procrus was so true,

As Shafalus to Procrus, I to you."

Page 170.

[680:A] That Wittes Pilgrimage was written before 1614, is evident from

its being alluded to in his _Scourge for Paper-Persecutors_: annexed to

the _Scourge of Folly_, printed in this year.

[680:B] Beside these productions here enumerated, Davies published, in

1617, "_Wits Bedlam_," 8vo.; containing not less than 400 Epigrams, and

about 80 Epitaphs. This writer usually designated himself by the title

of _John Davies of Hereford_,—See Censura Literaria, vols. i. ii. v.

vi. Brit. Bibliographer, No. VIII, Beloe's Anecdotes, vol. ii., and

Wood's Athenæ Oxon. vol. i. p. 445. He also wrote _The Holy Rood, or

Christ's Crosse_, 1609.

[680:C] These poetical brothers published their poems with the above

title, in a valuable Collection of Metrical Miscellanies, called "A

Poetical Rapsodie," 1602, which will be noticed hereafter. They are

introduced in the Table as being the principal contributors, and as

distinguishing their pieces by a separate title or division.

[681:A] This writer was the most popular ballad-maker of his day; he

was by trade a silk-weaver, and the compiler of various Garlands, under

the titles of "The Garland of Good Will;" "The Garland of Delight,"

&c. &c. Nash, in his "Have with you to Saffron-Walden," 1596, says,

that "his muse from the first peeping forth, hath stood at livery at

an alehouse wispe, never exceeding a penny a quart day nor night; and

this deere yeare, together with the silencing of his looms, scarce

that; he being constrained to betake himself to carded ale: whence

it proceedeth, that since _Candlemas_, or his jigge of _John for the

King_, not one merrie dittie will come from him, but _The thunder-bolt

against swearers_, _Repent England repent_, and _The strange judgements

of God_."

[681:B] Drant was a copious Latin Poet, having published two

miscellanies under the titles of _Sylva_, and _Poemata Varia_.

[681:C] A quotation from one of the songs or ballads of this drunken

rhymer, is to be found in _Much Ado about Nothing_, (Reed's Shakspeare,

vol. vi. p. 196.) commencing

"The god of love,

That sits above."

[682:A] This poem, of which a prior edition is noticed in Censura

Literaria, vol. v. p. 349, as published in 4to. 1600, is conjectured

by Ritson, p. 201, to have been the production of William Evans, who

is well known to the lovers of old English poetry, by his eulogium

prefixed to the first edition of Spenser's "Faerie Queene," 1590. The

Thamesiades, which consists of three books or cantos, is written with

vigour, and exhibits some pleasing poetical pictures.

[682:B] This thin volume of 22 leaves, consists of seven poetical

speeches "spoken before the King and Queens most excellent Majestie,

the Prince his highnesse, and the Lady Elizabeth's Grace."

[682:C] He contributed also to the previous editions of 1559 and 1563.

[682:D] The "Georgiks" were added to a new version of the "Bucolikes,"

forming one volume, 4to. Both are in regular Alexandrines without rhyme.

[683:A] This production consists of a pastoral and an elegy; the former

being a translation of the Aminta of Tasso.

[683:B] Fraunce also published in a work of his, entitled "The

Lawyers Logicke," 1586, an hexameter version of Virgil's Alexis. His

affectation of Latin metres has condemned him to oblivion, for as

Phillips justly remarks, "they neither become the English, nor any

other modern language."—Edit. apud Brydges, p. 109.

[683:C] Wood tells us (Ath. Oxon. vol. i. p. 398.), that Freeman was

held in esteem by Donne, Daniel, Chapman, and Shakspeare; and to

these poets, and to Spenser, he has addressed epigrams. For numerous

specimens of this poet, see Warton, vol. iv., Ellis, and Park in

Censura Lit. vol. iv. p. 129.

[683:D] This poem was afterwards annexed to Greene's "History of

Arbasto," 1617, where it is termed "a lovely poem." It was reprinted in

1626. On Greene's authority, I have ranked it beyond mediocrity.

[684:A] A collection which consists, observes Mr. Park, "of the saddest

trash that ever assumed the name of Epigrams; and which, with a very

slight alteration, well merits the sarcasm bestowed by Shenstone on the

poems of a Kidderminster bard:—

"Thy verses, friend, are _linsey woolsey_ stuff,

And we must own—you've measur'd out enough."

Censura Lit. vol. v. p. 348.

[684:B] The "Popish Kingdome" consists of four books, of which the last

contains a curious and interesting description of feasts, holidays, and

Christmas games; including, of course, many of the customs, and almost

all the amusements of the period in which it was written.

[684:C] Besides these works, Googe published in 1563, "Eglogs,

Epitaphs, and Sonnets," 12mo.

[685:A] "A Poem in manuscript, of considerable length, together with

some Sonnets, preserved amongst numerous treasures of a similar nature,

which belonged to the late Duke of Bridgewater, and now belong to the

Marquis of Stafford."—Todd's Spenser, vol. i. p. 87. Mr. Todd has

given us a specimen of Sir Arthur's talents, by the production of a

Sonnet from this manuscript treasure, which indicates no common genius,

and induces us to wish for the publication of the whole.

[685:B] Sir Arthur was the intimate friend of Spenser, who lamented

the death of Lady Gorges in a beautiful elegy entitled "Daphnaida:" he

has recorded, likewise, the conjugal affection and the talents of her

husband, under the name of _Alcyon_, in the following elegant lines:—

"And there is sad Alcyon, bent to mourne,

Though fit to frame an everlasting dittie,

Whose gentle spright for Daphne's death doth tourne

Sweet layes of love to endlesse plaints of pittie.

Ah pensive boy, pursue that brave conceipt,

In thy sweet eglantine of Meriflure,

Lift up thy notes unto their wonted height,

That may thy Muse and mates to mirth allure."

Todd's Spenser, vol. viii. p. 23.

[685:C] This poem was printed, says Ritson, at the end of Kenton's

"Mirror of man's life," 1580. Gosson is introduced here in consequence

of the celebrity attributed to him by Wood, who declares, that "for his

admirable penning of pastorals, he was ranked with Sir P. Sidney, Tho.

Chaloner, Edm. Spenser, Abrah. Fraunce, and Rich. Bernfield."

[685:D] This forms the second part of a work by the same writer, called

"The Golden Aphroditis," and consists of 19 pieces, four of which are

in prose.

[686:A] Greepe's poem has been, through mistake, attributed by Mr.

Beloe to Thomas Greene; and Ritson, by a second error, charged with its

omission.—Vide Anecdotes, vol. ii. p. 89.

[686:B] These pieces, written before 1620, were collected in his Works,

folio, 1633, and in his "Remains," 1670. 8vo.

[686:C] Vide Beloe's Anecdotes, vol. ii. p. 109.

[687:A] Warton observes, that "this translation has no other merit than

that of being the first appearance of a part of the Iliad in an English

dress."—Vol. iii. p. 440.

[687:B] Ritson appears to have confounded these two writers, Sir

William, and William Harbert, and classed them as one. The latter

speaks of his _unripened yeares_ in 1604.—Vide British Bibliographer,

No. IV. p. 300.

[687:C] Beside these Sonnets, amounting to twenty-three, Harvey was the

introducer of the miserable attempts to imitate the Latin metres, and

boasts in this publication of being the first who exhibited English

hexameters.

[687:D] The celebrated sister of Sir Philip Sydney.

[687:E] All that are printed of these, appear in the Paradise of

Daintie Devises, of the date annexed. He had previously translated

three tragedies from Seneca, and died in 1598.

[688:A] A writer known to greater advantage by his _Hierarchie of the

Blessed Angels_, folio, 1635; a work of singular curiosity and much

amusement.

[688:B] Higgins termed this the _first part_, merely in reference to

the collection by Baldwin in 1559, which, commencing at a much later

period, was afterwards called "the last part." Higgins's publication,

in 1575, contains 17 Legends from Albanact to Irenglas; but in 1587

he edited an edition of the Mirrour, including Baldwin's part, and

with the addition of 24 Legends of his own composition, which carries

forward his department to the death of Caracalla.

[688:C] In the Dedication of this work, the fashionable reading of

the times is thus reprobated:—"Novelties in these days delight

dainty eares, and fine filed phrases to fit some fantasy's, that no

book except it abound with the one or the other, or both of these, is

brooked of them. Some read _Gascoyne_, some _Guevasia_, some praise the

_Palace of Pleasure_, and the like, whereon they bestow whole days,

yea, some whole months and years, that scarce bestow one minute on the

Bible, albeit the work of God."

[688:D] For specimens of this volume, which is supposed to be unique,

see British Bibliographer, No. II. p. 105.

[689:A] An edition of this "famous old ballad" was published by Thomas

Gent of York, about 1740, who tells us, that it was "taken from an

antient manuscript, which was transcribed by Mr. Richard Guy, late

schoolmaster at Ingleton, in Yorkshire." Subsequent editions have been

published by Lambe and Weber.

[689:B] Printed in Ashmole's _Theatrum Chemicum Britannicum_.

[690:A] Perhaps the only piece above mediocrity in Kendall's Epigrams

is the following which I consider as very happily rendered:—

"MARTIAL.

_To Himselfe._

MARTIAL, the thinges that do attaine

The hapy life be these I finde:

The riches left, not got with paine;

The fruitefull ground, the quiet minde.

The egall frend; no grudge no strife;

No charge of rule, nor governaunce:

Without disease the healthfull life;

The household of continuance.

The mean dyet, no delicate fare;

True wisdome joynd with simplenes;

The night discharged of all care,

Where wine the wit may not oppresse.

The faithfull wife without debate;

Such sleepes as may beguile the night;

Content thyself with thine estate,

Ne wishe for death, nor feare his might."

Fol. 18, b.

[691:A] This writer transcends mediocrity in consequence of the

singular purity and harmony of his diction and versification. The

subsequent lines, forming the prior part of a sonnet, have the air of

being written rather in the 19th than the 16th century:—

"Hard is his hap who never finds content,

But still must dwell with heavy-thoughted sadnesse:

Harder that heart that never will relent,

That may, and will not turne these woes to gladnesse;

Then joies adue, comfort and mirth, farewell;

For I must now exile me from all pleasure,

Seeking some uncouth cave where I may dwell,

Pensive and solitarie without measure."

[691:B] For an account of this author, and of a poem of his printed in

1631, see Wood's Fasti, vol. i. col. 147; and Censura Literaria, vol.

i. p. 291.

[691:C] A poem in Alexandrines, printed at the end of the first edition

of his "Pilgrimage of Princes."

[692:A] The 200 Sonnets are followed by 100, entitled "Sundry

affectionate Sonets of a feeling conscience;" by 20, called "An

Introdution to peculiar prayers," and by 59, termed "Sonnets of the

Author to divers." In "The Return from Parnassus," Lok is thus, not

undeservedly, sentenced to oblivion:—"Locke and Hudson, sleep you,

quiet shavers, among the shavings of the press, and let your books lie

in some old nook amongst old boots and shoes: so, you may avoid my

censure."—Ancient British Drama, vol. i. p. 49.

[692:B] This is attributed to Markham on the authority of Mr.

Haslewood. See British Bibliographer, No. IV. p. 381.

[692:C] Mr. Park conceives this translation to be the production of

Robert Tofte, rather than of Markham.—Ritson's Bibliographia, p. 274,

note.

[693:A] It is to be regretted that no complete edition of the Works of

Montgomery has hitherto been published. Those printed by Foulis and

Urie in 1751 and 1754, are very imperfect; but might soon be rendered

faithful by consulting the manuscript collection of Montgomery's

Poems, presented by Drummond to the University of Edinburgh. This

MS., extending to 158 pages 4to., contains, beside odes, psalms, and

epitaphs, 70 sonnets, written on the Petrarcan model; and, if we may

judge from the six published by Mr. Irving, exhibiting a considerable

portion of poetic vigour. _The Cherrie and the Slae_, which, as the

critic just mentioned observes, "has maintained its popularity for the

space of two hundred years," must be pronounced in some of its parts,

beautiful, and, as a whole, much above mediocrity. Sibbald has printed

ten of our author's poems in the third volume of his Chronicle of

Scottish Poetry.

[694:A] The Sonnets of Murray appeared five years anterior to those

of Drummond, and though not equal to the effusions of the bard of

Hawthornden, are yet entitled to the praise of skilful construction and

frequently of poetic expression. A copy is now seldom to be met with;

but specimens may be found in Campbell's History of Poetry in Scotland,

and in Censura Literaria, vol. x. p. 374, 375.

[694:B] This poet, who, in the former part of his life, practised as a

physician, at Butley, in Cheshire, was a Latin poet of some eminence,

and one of the translators of Seneca's Tragedies, published in 1581.

[694:C] For a specimen of this poem, see Beloe's Anecdotes, vol. ii. p.

104.

[694:D] Though said to be the fourth edition, this copy is supposed by

Mr. Neve to be really the first impression. (See Cursory Remarks on

Ancient English Poets, 1789, p. 27.) Few poems have been more popular

than Overbury's "Wife;" owing partly to the good sense with which it

abounds, and partly to the interesting and tragic circumstances which

accompanied the author's fate. It was speedily and frequently imitated;

in 1614, appeared "_The Husband. A poeme expressed in a compleat man_,"

by an anonymous writer; in 1616, "_A Select Second Husband for Sir

Thomas Overburie's Wife_," by John Davies of Hereford; in 1619, "_The

Description of a Good Wife_," by Richard Brathwaite; and in the same

year, "_A Happy Husband, or Directions for a Maid to chuse her Mate_,"

by Patrick Hannay. These pieces are inferior to their prototype, which,

though not displaying much poetic inspiration, is written with elegance

and perspicuity.

[695:A] This work is a composition of verse and prose. Mr. Douce

terms Parkes a "writer of great ability and poetical talents, though

undeservedly obscure." Vide Illustrations, vol. ii. p. 75.

[695:B] Warton, in the Fragment of his fourth volume of the History of

English Poetry, remarks at p. 73, that many of Parrot's epigrams "are

worthy to be revived in modern collections." The _Laquei_ contain many

of the epigrams which he had previously published.

[696:A] Peele, who will afterwards be noticed as a dramatic poet,

may be classed with Scoggan, Skelton, and Tarleton, as a buffoon and

jester. He died before 1598, and his "Merrie conceited Jests" were

published in 4to. in 1627.

[696:B] An ample analysis of "The Historie of Lord Mandozze," has been

given in the British Bibliographer, No. X. p. 523.; and No. XI. p. 587.

Of the poetry of this very rare version, little laudatory can be said.

[696:C] Of this scarce poem, unknown to Ritson, the reader will find a

description by Mr. Haslewood in the British Bibliographer, No. III. p.

214.

[696:D] Mr. Beloe conjectures this "Commemoration," not noticed by

Ritson, to have been the production of a writer different from the

_John Phillip_ of the Bibliographia (p. 299.), and assigns for his

reason, the signature, at the conclusion, namely, _John Phyllips_; but

it is remarkable that the inscription, copied by Mr. Beloe, runs thus:

"To all Right Noble, Honorable, Godlye and Worshipfull Ladyes, _John

Phillip_ wisheth," &c. a variation in the orthography which warrants an

inference as to their identity. Vide Beloe, vol. ii. p. 111. et seq.

[697:A] Mr. Haslewood supposes this poem to have been written by

William Phiston, of London, Student; who is considered by Herbert, p.

1012., as the same person mentioned by Warton, vol. iii. p. 308. under

the appellation of W. Phist.—See Brit. Bibliogr. vol. v. p. 569.

[697:B] Ritson, in his Bibliographia, says, that no one except Warton

appears to have met with this publication; extracts from it, however,

may be found in the Monthly Mirror, vol. xiv. p. 17.

[697:C] These Flowers are the production of one of the most celebrated

agriculturists of the 16th century, the author of the "Jewell House of

Art and Nature;" the "Paradise of Flora;" the "Garden of Eden," &c.

&c.; but, in his poetical capacity, they prove, as Mr. Park remarks,

that he "did not attain to 'a plat of rising ground in the territory of

Parnassus.'"—Censura Lit. vol. viii. p. 7.

[697:D] These are printed in the latter part of the miscellany,

entitled "A Gorgeous Gallery of Gallant Inventions."

[697:E] Beside these verses in honour of Elizabeth, Puttenham wrote

the "Isle of Great Britain," a little brief romance; "Elpine," an

eclogue; "Minerva," an hymn; and, throughout his "Arte of Poesie,"

are interspersed a number of _verses_, _epigrams_, _epitaphs_,

_translations_, _imitations_, &c. Mr. Haslewood has prefixed a copy of

the _Partheniades_ to his reprint of "The Arte of English Poesie," 1811.

[698:A] For specimens of this poem, the British Bibliographer, No. II.

p. 153., may be consulted. Why it was called Dolarny's Primerose does

not appear. Reynolds possesses some merit as a descriptive poet.

[698:B] Of this work, not mentioned by Ritson, an account has been

given by Mr. Haslewood in Censura Literaria, vol. iv. p. 241. The

"Rewarde of Wickednesse" is written on the plan of the "Mirror for

Magistrates," and was composed during the author's night-watches as one

of the sentinels employed to guard the unfortunate Mary Queen of Scots.

Robinson is supposed to be author of "The ruffull tragedy of Hemidos

and Thelay," licensed in 1570.

[698:C] To Sibbald's Chronicle of Scottish Poetry, vol. iii. p. 287.,

and to _Restituta_, No. III. p. 177., I refer the reader for the only

account which I can recollect of this obscure writer. Irving and

Pinkerton merely mention the titles of his poems. Mr. Gillies, in

a very interesting article in the Restituta, has given us an ample

specimen of his "Seven Sages."

[699:A] Ritson says, that this is "a poem in 168 six-line stanzas,

of considerable merit, and with great defects: a 4to. MS. in the

possession of Francis Douce, Esq."—Vide Bibliographia Poetica, p. 315.

[699:B] Several extracts from this work, consisting of seven satires,

have been given by Warton in his Fragment of Vol. IV. See also Censura

Literaria, vol. vi. p. 277.; and Beloe's Anecdotes, vol. ii. p. 125.,

where further notices of this medley may be found. It went through

subsequent editions in 1607 and 1611.

[699:C] This poem and the three succeeding are not recorded by Ritson.

See Censura Lit. vol. ii. p. 150., in an article by Mr. Gilchrist.

[699:D] For a description of this copy see Brit. Bibliogr., No. V. p.

548.

[699:E] Curious specimens from this publication have been given by Mr.

Haslewood in the Brit. Bibliographer, No. X. p. 549.

[700:A] Of this voluminous pamphleteer, five more pieces are enumerated

by Ritson, published posterior to 1616. Though a rapid and careless

writer, he occasionally exhibits considerable vigour, and has often

satirized with spirit the manners and follies of his period. He may

be justly classed as surmounting mediocrity, and he is therefore

designated as such at the close of this article.

[700:B] This poem, and the Fisherman's Tale, are written in blank

verse, a species of composition in which Sabie had been preceded by

Surrey, Gascoigne, Turberville, Riche, Peele, Higgins, Blenerhasset,

Aske, Vallans, Greene, Breton, Chapman, Marlowe, &c. A copious analysis

of these pieces has been given by Mr. Haslewood in No. V. of the

British Bibliographer, from p. 488. to 503.; but neither the genius

nor the versification of Sabie merit much notice: his _Pan_, however,

contains some beautiful rhymed lines.

[700:C] Annexed, says Ritson, to his "Hours of Recreation or after

dinners," 1576, 8vo.

[700:D] The "Four Paradoxes" occupy four portions, each consisting of

18 six-line stanzas, and the whole is terminated by three additional

ones, entitled his "Resolution." The specimens of this poem adduced by

Mr. Park in Censura Literaria, vol. iii. and iv., speak highly in its

favour, and seem to justify the following encomium:—"There is much

manly observation, forcible truth, apt simile, and moral pith in the

poem itself; and it leaves a lingering desire upon the mind, to obtain

some knowledge of a writer, whose meritorious production was unheralded

by any contemporary verse-man, and whose name remains unrecorded by any

poetical biographer."—Vol. iii. p. 376.

[701:A] An accurate account of this volume, which was republished in

1622 and 1640, may be found in Censura Literaria, vol. iii, p. 381.

"From the great disparity of merit between this and the preceding

article," observes Mr. Park, "there is little reason to suppose them by

the same author, though they bear the same name."

[701:B] A perfect copy of this miserable collection of poems,

consisting of sonnets, elegies, odes, odellets, &c. was purchased,

at a sale, by Mr. Triphook for twelve guineas. The only copy before

known was without a title, from which Ritson has given a full account,

though, at the same time, he terms the author an "arrogant and absurd

coxcomb," and condemns him for his "wretched style, profligate

plagiarism, ridiculous pedantry, and unnatural conceit."—Vide Bib.

Poetica, p. 337. et seq.

[701:C] An ample and interesting description of Stanyhurst, and his

translation, will be found in Censura Literaria, vol. iv. pp. 225.

354., the production of Mr. Haslewood. Nash has not exaggerated when,

alluding to this poet, he says, "whose heroical poetry infired, I

should say inspired, with an hexameter furye, recalled to life whatever

hissed barbarism hath been buried this hundred yeare; and revived by

his ragged quill such carterly varietie, as no hedge plowman in a

countrie but would have held as the extremitie of clownerie: a patterne

whereof I will propound to your judgment, as near as I can, being part

of one of his descriptions of a tempest, which is thus:—

"Then did he make heaven's vault to rebound

With rounce robble bobble,

Of ruffe raffe roaring,

With thicke thwacke thurly bouncing."

Nash's Preface to Greene's Arcadia.

[702:A] Storer's Life of Wolsey, which is about to be reprinted, has

a claim upon our attention, both for its matter and manner: he was a

contributor also to "England's Helicon," and has been highly extolled

by his friend Fitzgeffrey, in Affanis, lib. i.

[702:B] The most interesting part of this volume, from the nature

of its subject, is "Ane schort Treatise conteining some Reulis and

Cautelis to be observit and eschewit in Scottis Poesie," in which the

regal critic observes, that "sindrie hes written of it in English," an

assertion which would lead to the supposition that some of our earliest

critics had perished; for Gascoigne's "Certayne Notes of Instruction

concerning the making of Verse or Rhyme," 1575, appears now to be the

only piece of criticism on poetic composition which preceded James's

"Essayes."

[702:C] The Poetical Exercises contain but two poems,—the "Furies,"

translated from Du Bartas, and "The Lepanto," an original piece.

Several minor poems, introduced into his own works and those of others,

some sonnets and a translation of the psalms, were written by James

after his accession to the English throne.

[702:D] Of this far-famed comedian and jester, Fuller says, that "when

Queen Elizabeth was serious (I dare not say sullen) and out of good

humour, he could undumpish her at his pleasure. Her highest favourites

would in some cases go to Tarlton before they would go to the Queen,

and he was their usher to prepare their advantageous accession to

her. In a word, he told the Queen more of her faults than most of her

chaplains, and cured her melancholy better than all her physicians."

Indeed, in the language of a contemporary,

"Of all the jesters in the lande

He bare the praise awaie."

Vide Ritson Bibl. p. 359.

[703:A] Of this voluminous scribbler, whose rhyming spirit, remarks

Granger, did not evaporate with his youth, who held the pen much longer

than he did the oar, and who was the poetaster of half a century, I

have only been able to insert two of his earliest productions, the

remainder being subsequent to 1616, and extending to 1653. He was

thirty-two when Shakspeare died; and "the waterman," observes Mr.

Chalmers, "must have often _sculled_ Shakspeare, who is said to have

lived on _The Bankside_."—Apology, p. 101.

[703:B] _The Fruites of Jealousie_, a long poem in octave measure, may

be found at the close of _The Blazon of Jealousie_, translated from the

Italian of Varchi, of which an account is given in Censura Literaria,

vol. iv. p. 403.

[704:A] Beside these anthems, which were licensed to her printer,

Christ. Barker, Nov. 15., her Majesty wrote a variety of small pieces,

some of which have been preserved by Hentzner, Puttenham, and Soothern,

and reprinted by Percy, Ellis, and Ritson. The fourteenth Psalm also,

and the Speech of the Chorus in the second Act of the Hercules Œtæus

of Seneca, have been published by Mr. Park, the latter poem being a

specimen of blank verse.—Vide Park's Royal and Noble Authors, vol. i.

p. 102.

Of the execrable flattery which was systematically bestowed on

this monarch, the following eulogium upon her poetry, is a curious

instance. After enumerating the best poets of his age, Puttenham thus

proceeds:—"But last in recitall and first in degree is the Queene

our soveraigne Lady, whose learned, delicate, noble Muse, easily

surmounteth all the rest that have written before her time or since,

for sence, sweetnesse and subtillitie, be it Ode, Elegie, Epigram, or

any other kinde of poeme, Heroick, Lyricke, wherein it shall please

her Majestie to employ her penne, even by as much oddes as her owne

excellent estate and degree exceedeth all the rest of her most humble

vassalls."—The Arte of English Poesie, reprint, p. 51.

[704:B] A Collection of Epigrams.

[705:A] These poems were published in a tract entitled "The Right Way

to Heaven, and the true testimony of a faithfull and loyall subject,"

1601.

[705:B] This copy is without date, but a second edition was printed in

1617; it is a miserable paraphrase of Warner's exquisite episode.

[705:C] Of this Collection Lord Hailes published a specimen in 1765; in

1801, Mr. J. Gr. Dalyell reprinted the whole, with the Scotish poems of

the 16th century. Edin. 2 vols. 12mo.; and Mr. Irving has given some

notices of the author in his Scotish poets, 2 vols. 8vo. 1804.

[706:A] Wenman's Legend and Poems have lately been printed by Mr.

Fry, in an octavo volume, from a quarto manuscript of 52 leaves. The

Legend appears to have been intended for insertion in the _Mirror for

Magistrates_.

[706:B] For a very full account of "The Rocke of Regard," by Mr. Park,

see Censura Lit. vol. v. p. 1.

[706:C] This poem of 90 seven-line stanzas, is annexed to Bindley's

"Mirror of True Honour and Christian Nobility," &c. 1585. 4to.

[706:D] Of Whitney's Emblemes, which, being printed at Leyden, is a

very rare book, a description will be found in Censura Lit. vol. v. p.

233.

[706:E] Willet's Emblems were written before 1598, as Meres alludes to

them in his "Palladis Tamia."

[707:A] These biographical poems were added to the author's "True

use of Armorie," 1592, 4to. Of the first poem an extract is given in

Censura Lit. vol. i. p. 149, 150.

[707:B] A copy of these poems, apparently unique, is in the possession

of Mr. Park, who has communicated a description of it in Censura Lit.

vol. iii. p. 175.

[707:C] This romance, which abounds with poetry, is of the pastoral

species; it is written on the plan of Sidney's Arcadia, and, like it,

exhibits many beautiful passages both in prose and verse: twenty-seven

of its poetical effusions have been inserted in "England's Helicon,"

and several have been lately reprinted in "Restituta," No. VII.

accompanied by some interesting remarks from the pen of Sir Egerton

Brydges.

[707:D] For a specimen of this poem, which "is a concise geographical

description of three-quarters of the world, Asia, Africa, and Europe,

in the manner of Dionysius," and which Mr. Beloe believes to be unique,

see his Anecdotes, vol. ii. p. 74.

[710:A] Sidney's Works, 7th edit., fol., 1629, p. 561.

[711:A] May-Day; a wittie comedie. Divers times acted at "The Blacke

Fryers;" 4to. Act iii. fol. 39.

[711:B] A copy of this Miscellany, of the edition of 1580, sold at the

Roxburghe Sale, for 55_l._ 13_s._!

[713:A] Reprint by Sir Egerton Brydges, 1810. p. 44.

[714:A] Reprint, p. 42.

[714:B] Preface to his reprint, p. vi.

[714:C] Reprint, p. 55.

[714:D] Reed's Shakspeare, vol. xx. p. 222. Act iv. sc. 5.

[715:A] Reprint, p. 57, 58.

[715:B] Ibid. p. 66.

[715:C] Ibid. p. 14. 37. 87.

[716:A] Vide Heliconia, Part I. Advertisement.

[717:A] For a notable instance of this figure, we refer the reader to

"The Lover in Bondage," at p. 50. of Mr. Park's reprint. Not Holofernes

himself could more "affect the letter."

[717:B] Quoted by Mr. Park in the Advertisement to his reprint.

[718:A] Heliconia, Part II. p. 85.

[720:A] Heliconia, Part III. Advertisement.

[723:A] England's Helicon, reprint of 1812, Introduction, p. xx. xxi.

xxii.

[724:A] Preface, pp. 8, 9. This Collection of Hayward's had three

different titles; the last dated 1741. The second edition is called

"The Quintissence of English Poetry."

[727:A] The curious Preface, from which we have given this long

extract, is only to be found in the first edition of the Belvedere; its

omission in the second is a singular defect, as it certainly forms the

most interesting part of the impression of 1600.

[727:B] See Malone's Inquiry.

[728:A] Supplement to Shakspeare, vol. i. p. 732.

[730:A] See Censura Literaria, vol. i. p. 229.

[732:A] Vide Morley's Plaine and easie Introduction to Practical Musick.

[733:A] For specimens of these interesting collections, I refer my

reader to _Censura Literaria_, vol. ix. p. 1. et seq.; vol. x. pp. 179.

294.; and to the _British Bibliographer_, No. IV. p. 343.; No. V. p.

563.; No. VI. p. 59.; No. IX. p. 427.; No. XI. p. 652.; No. XII. p.

48.; and No. XV. p. 386. A well-chosen selection from the now scarce

volumes of these Professors of Vocal Music would be a valuable present

to the lovers of English poetry.

END OF THE FIRST VOLUME

Printed by A. Strahan,

Printers-Street, London.

INDEX.

*.* _The Roman Numerals refer to the Volumes; the Figures to the Pages

of each Volume._

_Acheley_ (Thomas), a minor poet of the age of Shakspeare, i. 676.

_Acting_, art of, consummately known to Shakspeare, i. 423.

Parts chiefly performed by him, 424, 425.

_Actors_, companies of, when first licensed, ii. 202.

Placed under the superintendence of the masters of the revels, 203.

Their remuneration, 204.

Patronized by the court, 205,

and also by private individuals, whose names they bore, 205, 206.

Days and hours of their performance, 215, 216.

Their remuneration, 223, 224.

_Admission_ to the theatre, in the time of Shakspeare, prices of, ii.

216, 217.

_Adonis_, beautiful address of Venus to, ii. 25, 26.

See _Venus and Adonis_.

_Ægeon_, exquisite portrait of, in the Comedy of Errors, ii. 288.

_Æschylus_, striking affinity between the celebrated trilogy of, and

Shakspeare's Macbeth, ii. 472, 473.

_Affection_ (maternal), exquisite delineation of, ii. 421.

_Affections_ (sympathetic), account of, i. 373, 374.

_Agate_ stone, supposed virtue of, i. 368.

_Agnus Dei_, a supposed charm against thunder, i. 364.

_Air_, spirits of, introduced into the Tempest, ii. 524.

_Akenside_'s "Pleasures of the Imagination" quoted, i. 321, 322.

_Alchemistry_, a favourite pursuit of the age of Shakspeare, ii. 154.

_Alderson_ (Dr.), opinion of, on the cause of spectral visitations,

ii. 405, 406.

His application of them to the character of Hamlet, 408.

_Ale_, synonymous with merry making, i. 175.

Different kinds of Ales, 176.

Leet-ale, 176.

Clerk-ale, _ibid._

Church-ales, 177-179.

_Alehouses_, picture of, in Shakspeare's time, ii. 216-218.

_Alfs_, or bright and swart elves of the Scandinavians, account of,

ii. 308, 309.

_All-Hallow-Eve_, festival of, i. 341.

Fires kindled on that eve, _ibid._

Prayers offered for the souls of the departed, 342.

Supposed influence of fairies, spirits, &c. 342-344.

Spells practised on that eve, 344-347.

_Alliterations_, in the English language, satirised by Sir Philip

Sidney, i. 444.

_All's Well that Ends Well_, probable date of, ii. 422.

Analysis of its characters,—the Countess of Rousillon, 423.

Helen, _ib._ 424, 425.

Remarks on the minor characters, 425.

_Passages of this drama, which are illustrated in this work._

Act i. scene 3., ii. 424.

Act ii. scene 1., i. 108. 175. ii. 434.

scene 2., i. 143. 159.

scene 5., ii. 434.

scene 7., ii. 434.

Act iii. scene 2., ii. 107. 425.

Act iv. scene 10., i. 362.

scene 12., ii. 192.

_All Saints' Day_, festival of, i. 341.

Superstitious observances on its vigil, 341-347.

_Allot_ (Robert), "English Parnassus," i. 723.

List of contributors to this collection of poems, 724.

Critical remarks on the merits of his selection, _ibid._ 725.

_Amadis of Gaul_ (Romance of), popularity of, i. 515.

Notice of English translations of it, 546, 547.

_Amusements_ of the fairies, ii. 342-345.

_Amusements_, national, in the age of Shakspeare, enumerated, i. 246,

247.

Account of the itinerant stage, 247-252.

The Cotswold games, 252-254.

Hawking, 255.

Hunting, 272.

Fowling, 287.

Bird-batting, 289.

Fishing, 289.

Horse-racing, 297.

The Quintaine, 300.

Wild-goose chace, 304.

Hurling, 305.

Shovel-board, 306.

Shove-groat, 307.

Juvenile sports, 308-312.

Amusements of the metropolis and court, ii. 168.

Card playing, 169.

Tables and dice, 171.

Dancing, 172.

Bull-baiting and bear-baiting, 176.

Archery, 178.

Frequenting of Paul's Walk, 182.

Sagacious horses, 186.

Masques and pageants, 187.

Royal progresses, 193.

Dramatic performances, 201-226.

_Anderson_ (James), a minor poet of the age of Shakspeare, i. 676.

_Andrewe_ (Thomas), a minor poet of the age of Shakspeare, i. 676.

_Angels_, different orders of, i. 335.

Account of the doctrine of guardian angels prevalent in Shakspeare's

time, 336.

Supposed number of angels, 337-339.

Remarks on this doctrine by Bishop Horsley, 339, 340.

The supposed agency of angelic spirits, as believed in Shakspeare's

time, critically analysed, ii. 399-405.

And applied to the introduction of the spirit in Hamlet, 407-416.

Superiority of Shakspeare's angelic spirits over those of all other

dramatists, ancient or modern, 417, 418.

_Angling_, notice of books on the art of, i. 290, 291.

Contemplations of an angler, 292, 293.

His qualifications described, 294-296.

Encomium on, by Sir Henry Wotton, 297.

Beautiful verses on, by Davors, 614.

_Anglo-Norman_ romances, account of, i. 523-531.

_Animals_, sagacious, in the time of Shakspeare, notice of, ii. 186,

187.

_Anneson_ (James), a minor poet of the age of Shakspeare, i. 676.

_Ante-suppers_, when introduced, ii. 128.

_Anthropophagi_, supposed existence of, i. 385, 386.

Allusions to by Shakspeare, 385.

_Antony and Cleopatra_, date of, ii. 492.

Character and conduct of this drama, 493.

_Passages of this drama which are illustrated in the present work._

Act i. scene 4., i. 129.

Act ii. scene 3., i. 338.

Act iii. scene 9., i. 138.

Act iv. scene 10., i. 308.

_Apemantus_, remarks on the character of, ii. 451, 452.

_Apes_, kept as companions for the domestic fools, ii. 146.

_Aphorisms_ of Shakspeare, character of, i. 517.

_Apparitions_, probable causes of, ii. 406.

Application of them to the character of Hamlet, 406-408.

_Arcadia_ of Sir Philip Sidney, critical notice of, i. 548-552.

Alluded to by Shakspeare, 573, 574.

_Archery_, a favourite diversion in the age of Shakspeare, ii. 178.

The knights of Prince Arthur's round-table, a society of archers,

instituted by Henry VIII., 179.

Encouraged in the reign of Elizabeth, 179, 180.

Decline of archery, 181, 182.

_Arden_ or _Ardern_ family, account of, i. 3.

Shakspeare probably descended from, by the female line, _ibid._

_Ardesoif_ (Mr.), terrific death of, i. 146. note.

_Ariel_, analysis of the character of, ii. 506. 522, 523.

_Ariosto_'s Orlando Furioso, as translated by Sir John Harington,

remarks on, i. 629.

His "Supposes," a comedy, translated by Gascoigne, ii. 233.

_Armin_ (Thomas), complaint of, against the critics of his day, i.

456.

_Arms_, supposed grant of, to John Shakspeare, i. 1.

Real grant and confirmation of, to him, 2, 3.

_Arras Hangings_, an article of furniture, in the age of Shakspeare,

ii. 114, 115.

_Arthington_ (Henry), a minor poet of the age of Shakspeare, i. 676.

_Arthur_ and Hubert, beautiful scene between, in the play of King

John, ii. 422.

_Arthur's Chase_, account of, i. 377, 378.

_Arthur's Round Table_, a society of archers, account of, i. 562, 563.

_Arval_, or Funeral Entertainment, account of, i. 238.

_Ascham_ (Roger), complaint of, on the little reward of schoolmasters,

i. 27. _note_, 94.

Improved the English language, 439.

Remarks of, on the cultivation of classical literature in England,

450.;

and of Italian literature, 452.

Notice of his "Scholemaster," 454.

His censure of the popularity of "La Morte d'Arthur," 524, 525.

Design of his "Toxophilus," ii. 181.

_Aske_ (James), a minor poet of the age of Shakspeare, i. 676.

_Asses' Heads_, absurd recipe for fixing on the shoulders of man, ii.

351, 352.

_As You Like It_, date of, ii. 431.

Remarks on the general structure of its fable, 431, 432.

Analysis of the character of Jaques, 433, 434.

_Passages of this drama which are illustrated in the present work._

Act i. scene 2., i. 301.

Act ii. scene 1., i. 367. 403.

scene 7., i. 55. ii. 102.

Act iii. scene 2., ii. 115.

scene 3., i. 580.

scene 4., i. 556.

Act iv. scene 1., i. 580. ii. 157.

Act v. scene 4., i. 288. ii. 159.

The Epilogue, i. 218.

_Aubrey_, statement of, respecting Shakspeare's being a butcher, i.

36.

Probability of his account that Shakspeare had been a schoolmaster,

45.

His character of the poet, ii. 615.

_Avale_ (Lemeke), a minor poet of the age of Shakspeare, i. 676.

_Autolycus_, remarks on the character of, ii. 500.

_Bacon_ (Lord), character of his Henry VII., i. 476.,

and of his "Essays," 512. 517.

_Bag-Pipe_, the ancient accompaniment of the morris-dance and

May-games, i. 164, 165.

_Baldwyne_'s "Myrrour for Magistrates," account of, i. 708, 709.

_Ballads_, early English, notice of a collection of, i. 574-576.

Quotations from and allusions to them by Shakspeare, 577-593.

_Balnevis_ (Henry), a minor poet of the age of Shakspeare, i. 676.

_Bandello_, principal novels of, translated by Paynter, i. 541.

His novels wholly translated by Warner or Webbe, 543.

_Banquets_, where taken, in the age of Shakspeare, ii. 144.

_Barksted_ (William), encomiastic verses of, on Shakspeare's Venus and

Adonis, ii. 30.

_Barley-Break_, verses on, i. 309.

How played, 310.

Poetical description of, 311.

Scottish mode of playing, 312.

_Barnefielde_ (Richard), a minor poet of the age of Shakspeare, works

of, i. 676, 677.

Character of his affectionate shepherd, 677. _note_ [677:A].

Verses of, on Shakspeare's Venus and Adonis, and Lucrece, ii. 29.

_Barnes_ (Barnabe), a minor poet of the age of Shakspeare, i. 677.

Character of his Sonnets, _ibid._ _note_ [677:B].

—— (Juliana), the book of St. Alban's of, reprinted by Markham, i.

70. _note_.

Dedication of it, _ibid._

Account of the edition, with extracts, 71, 72. _notes_.

The treatyse of Fishing not written by her, 290. and _note_.

Different editions of this work, 291.

_Baronets_, order of, when created, ii. 527.

Their arms, 528.

_Barry's_ "Ram Alley," illustrated, i. 224.

_Barson_ or Barston, village, allusion to by Shakspeare, i. 51.

_Bastard_ (Thomas), notice of the epigrams of, i. 677. and _note_.

_Batman_ (Stephen), a minor poet of the age of Shakspeare, i. 677.

_Batman_'s translation of "Bartholome de Proprietatibus Rerum," well

known to Shakspeare, i. 485.

_Bear-baiting_, a fashionable amusement in the age of Elizabeth, ii.

176.

Prices of entrance to the bear-gardens, 178.

_Beards_, fashions of, in the age of Shakspeare, ii. 102, 103.

"_Beards Wag all_," the proverb of, explained, i. 143, 144.

_Beaufort_ (Cardinal), dying scene of, i. 390.

_Beaumont_ (Sir John), critical notices of, as a poet, i. 601, 602.

His elegiac tribute to the memory of the Earl of Southampton, ii.

17, 18.

How far he assisted Fletcher, 558.

_Beaumont and Fletcher_, illustrations of the plays of,

Custom of the Country, i. 477.

Fair Maid of the Inn, i. 329.

Knight of the Burning Pestle, i. 477. ii. 282. _note_.

Playhouse to Let, ii. 282. _note_.

Scornful Lady, i. 224.

Woman Pleased, act iv. sc. 1. i. 172, 173.

_Beauty_, exquisite taste for, discoverable in Shakspeare's works, ii.

616-618.

_Bedchambers_, furniture of, in the age of Shakspeare, ii. 117.

_Belemnites_, or Hag-Stones, supposed virtues of, i. 367.

_Belleforest_'s and _Boisteau_'s "Cent Histoires Tragiques," a

collection of tales, notice of, i. 544.

_Bells_, why tolled at funerals, i. 232-234.

Worn by Hawks, 268.

_Beltein_, or rural sacrifice of the Scotch Highlanders on May-day, i.

152.

"_Bel-vedere_, or the Garden of the Muses," a collection of poems,

critical notice of, i. 725, 726.

List of contributors to it, 726, 727.

_Benefices_ bestowed in Elizabeth's time on menial servants, i. 92.

_Betrothing_, ceremony of, i. 220-223.

_Betterton_ (Mr.), visits Stratford, in quest of information

concerning Shakspeare, i. 34.

_Beverley_ (Peter), a minor poet of the age of Shakspeare, i. 677.

_Bevis_ (Sir), of Southampton, notice of, i. 565.

Allusions by Shakspeare to the romance of, 565, 566.

_Bezoar_ stones, supposed virtues of, i. 367.

_Bibliography_, cultivated by Queen Elizabeth, i. 428.

Influence of her example, 433.

Account of eminent bibliographers and bibliophiles of her court,

433-436.

_Bidford Topers_, anecdote of them and Shakspeare, i. 48-50.

_Bieston_ (Roger), a minor poet of the age of Shakspeare, i. 677.

_Biographical Writers_, during the age of Elizabeth, notice of, i.

482.

_Birds_, different modes of taking in the 16th century, i. 287.

By means of stalking-horses, 288.

Bird-batting described, 289.

_Blackfriars_, theatre in, account of, ii. 209, 210.

_Black Letter_ books, chiefly confined to the time of Elizabeth, i.

438.

_Blenerhasset_ (Thomas), a minor poet of the age of Shakspeare, i.

677.

Additions made by him to the "Mirrour for Magistrates," 709.

_Boar's-head_, anciently the first dish brought to table, i. 76.

Ceremonies attending it, 201.

Verses on, _ibid._ 202.

_Boccacio_, principal novels of, translated by Paynter, i. 541.

_Bodenham's_ (John), "Garden of the Muses," a collection of poems, i.

725.

Critical notice of, 726.

List of contributors to it, 726, 727.

_Bodley_ (Sir Thomas), an eminent book collector, notice of, i. 433.

Observation of King James I. on quitting the Bodleian library, 434.

_Bolton_ (Edward), critical notice of his "_Hypercritica_: or Rule of

Judgment for writing or reading our Historys," i. 465, 470-471.

_Bond_ (Dr. John), an eminent Latin philologer, i. 454.

_Booke of St. Albans_, curious title and dedication of Markham's

edition of, i. 70. _note_.

Rarity of the original edition, 71. _note_.

extract from, _ibid._, 72. _note_.

_Book of Sports_, account of, i. 173, 174.

_Books_, taste for, encouraged by Queen Elizabeth, i. 428. 433-435.

Were anciently placed with their leaves outwards, 436.

Were splendidly bound in the time of Elizabeth, 432. and _note_,

436.

Hints on the best mode of keeping books, 436, 437.

Remarks on the style in which they were executed, 437, 438.

_Boors_, or country clowns, character of, in the 16th century, i.

120-122.

_Boots_, preposterous fashions of, in the age of Shakspeare, ii. 106,

107.

_Bourcher_ (Arthur), a minor poet of the age of Shakspeare, i. 677.

_Bourman_ (Nicholas), a minor poet of the age of Shakspeare, i. 677.

_Boys_ (Rev. John), an eminent Grecian, notice of, i. 454.

_Bradshaw_ (Thomas), a minor poet of the age of Shakspeare, i. 677.

_Brathwait_'s English Gentleman cited, i. 258, 259.

_Brathwayte_ (Richard), a minor poet of the age of Shakspeare, i. 677.

_Brawls_, a fashionable dance in the age of Shakspeare, ii. 173.

Different sorts of, _ibid._

_Bread_, enumeration of different kinds of, in the age of Shakspeare,

ii. 127.

_Breeches_, preposterous size of, in the age of Shakspeare, ii. 104.

and _note_.

_Breton_ (Nicholas), critical notice of the poems of, i. 602, 603.

_Brewer_'s "Lingua," illustration of, i. 477.

_Brice_ (Thomas), a minor poet of the age of Shakspeare, i. 678.

_Bridal Bed_, why blessed, i. 226.

_Bride_, custom of kissing at the altar, i. 225.

Supposed visionary appearances of future brides and bridegrooms, on

Midsummer-Eve, 332-334.

and on All-Hallow-Eve, 344-347.

_Bride Ale_ (Rustic), description of, i. 227-229.

_Britton_ (Mr.), remarks of, on the monumental bust of Shakspeare, ii.

619, 620.

_Broke_ (Arthur), account of his "Tragicall Historye of Romeus and

Juliet," ii. 359. and _note_.

_Brooke_ (Christopher), a minor poet of the age of Shakspeare, i. 678.

_Brooke_ (Thomas), a minor poet of the age of Shakspeare, i. 678.

_Broughton_ (Rowland), a minor poet of the age of Shakspeare, i. 678.

_Browne_'s (William), Britannia's Pastorals, quotations from,

illustrative of ancient customs:—on May-day, i. 155.

Critical notice of his merits as a poet, 603, 604, 605.

Causes of his being neglected, 605.

_Brownie_, a benevolent Scottish fairy, account of, ii. 330-336.

Resemblance between him and Shakspeare's Puck, 351.

_Brutus_, character of, ii. 492.

_Brydges_ (Sir Egerton), on the merits of Lodge, as a poet, i.

633-635.

Estimate of the poetical character of Sir Walter Raleigh, 640-642.

Critical observations of, on the "Paradise of Daintie Devises," 714,

715.

And on "England's Helicon," 721-723.

_Bryskett_ (Lodowick), a minor poet of the age of Shakspeare, notice

of, i. 678. and _note_. [678:B]

_Buck_ (Sir George), a minor poet in the time of Shakspeare, i. 678.

_Buchanan_'s "Rerum Scoticarum Historia," character of, i. 477.

_Bull-baiting_, a fashionable amusement in the age of Shakspeare, ii.

176, 177.

_Bullokar_'s "Bref Grammar for English," notice of, i. 455, 456.

His innovations in English spelling, satirised by Shakspeare, 472.

_Burbadge_, the player, notice of, i. 417.

_Burial_, ceremony of, i. 232.

Tolling the passing-bell, _ibid._ 233, 234.

Lake wakes, described, 234-236.

Vestiges of, in the north of England, 237.

Funeral entertainments, 238.

Garlands of flowers sometimes buried with the deceased, 240, 241.

Graves planted with flowers, 242-244.

_Burns_, poetical description by, of the spells of All-Hallow-Eve, i.

346.

_Burton_ (William), critical notice of his "History of

Leicestershire," i. 481.

_Burton_'s apology for May-games and sports, i. 174.

Invective against the extravagance at inns, 219.

His list of sports pursued in his time, 247.

Portrait of the illiterate country gentlemen of that age, 430, 431.

Eulogium on books and book collectors, 434, 435.

The popular song of "Fortune my Foe," cited by him, 577.

_Burton on the Heath_, allusion to, by Shakspeare, i. 50.

_Bust_ of Shakspeare, in Stratford church, originality of, proved, ii.

620.

Its character and expression injured through Mr. Malone's

interference, 621.

_Buttes_ (John), "Dyets Dry Dinner," curious extract from, ii. 218.

_Byrd_'s (William), collection of "Tenor Psalmes, Sonets, and Songs,

of Pietie," &c. account of, i. 731.

_Byron_'s (Lord), "Siege of Corinth" illustrated, ii. 411.

_Cæsar_. See _Julius Cæsar_.

_Caliban_, remarks on the character of, ii. 506. 523. 525.

_Camden_ (William), character of his "Annals," i. 477.

_Campbell_'s "Pleasures of Hope," character of, i. 599.

_Campion_ (Thomas), critical notice of his "Observations on the Art of

English Poesie," i. 468, 469.

_Canary Dance_, account of, ii. 175.

_Candlemas-day_, origin of the festival, i. 138.

Why called "Wives' Feast Day," _ibid._

Ceremonies for Candlemas-eve and day, 139, 140, 141.

_Capel_ (Mr.), Erroneous notions of, concerning Shakspeare's marriage,

i. 62.

His text of Shakspeare, one of the purest extant, ii. 48. _note_.

_Caps_ worn by the ladies, in the age of Shakspeare, ii. 95.

_Carbuncle_, imaginary virtues of, i. 396.

Allusions to it, _ibid._ 397-399.

_Cards_, fashionable games of, in the age of Shakspeare, ii. 169, 170.

Were played in the theatre by the audience before the performance

commenced, 217.

_Carew_ (Richard), a minor poet of the age of Shakspeare, i. 679.

_Carew_'s "Survey of Cornwall," notice of, i. 481.

_Carols_ (Christmas), account of, i. 197-202.

_Carpenter_ (John), a minor poet of the age of Shakspeare, i. 679.

Shakspeare and His Times [Vol. 1 of 2] Including the Biography of the Poet; criticisms on his genius and writings; a new chronology of his plays; a disquisition on the on the object of his sonnets; and a history of the manners, customs, and amusements, superstitions, poetry, and elegant literature of his age · 第 18 / 20 章

"To such as could enjoy the rough and far-fetched subtlety of