THE

LIVES

OF THE

POETS

OF

Great Britain and Ireland.

Compiled from ample Materials scattered in a Variety of Books, and especially from the MS. Notes of the late ingenious Mr. Coxeter and others, collected for this Design,

By Mr. CIBBER, and other Hands.

VOL. II.

LONDON:

Printed for R. Griffiths, at the Dunciad in St. Paul's Church-Yard.

Mdccliii

Volume II.

Contains the

LIVES

OF

THE

LIVES

OF THE

POETS

Anthony Brewer,

Mr. Winstanley, and after him Chetwood, has attributed a play to our author called Lingua, or the Contention of the Tongue and the Five Senses for Superiority, a Comedy, acted at Cambridge, 1606; but Mr. Langbaine is of opinion, that neither that, Love's Loadstone, Landagartha, or Love's Dominion, as Winstanley and Philips affirm, are his; Landagartha being written by Henry Burnel, esquire, and Love's Dominion by Flecknoe. In the Comedy called Lingua, there is a circumstance which Chetwood mentions, too curious, to be omitted here. When this play was acted at Cambridge, Oliver Cromwel performed the part of Tactus, which he felt so warmly, that it first fired his ambition, and, from the possession of an imaginary crown, he stretched his views to a real one; to accomplish which, he was content to wade through a sea of blood, and, as Mr. Gray beautifully expresses it, shut the Gates of Mercy on Mankind; the speech with which he is said to have been so affected, is the following,

[3] Mr. Langbaine ascribes to Brewer the two following plays,

Country Girl, a Comedy, often acted with applause, printed in 4to. 1647. This play has been revived since the Restoration, under the title of Country Innocence, or the Chamber-maid turned Quaker.

Love-sick King, an English Tragical History, with the Life and Death of Cartesmunda, the Fair Nun of Winchester; printed in 4to. London, 1655; this play was likewise revived 1680, and acted by the name of the Perjured Nun. The historical part of the plot is founded upon the Invasion of the Danes, in the reign of King Ethelred and Alfred.

This last play of Anthony Brewer's, is one of the best irregular plays, next to those of Shakespear, which are in our language. The story, which is extremely interesting, is conducted, not so much with art, as spirit; the characters are animated, and the scene busy. Canutus King of Denmark, after having gained the city of Winchester, by the villainy of a native, orders all to be put to the sword, and at last enters the Cloister, raging with the thirst of blood, and panting for destruction; he meets Cartesmunda, whose beauty stops his ruffian violence, and melts him, as it were, into a human creature. The language of this play is as modern, and the verses as musical as those of Rowe; fire and elevation run through it, and there are many strokes of the most melting tenderness. Cartesmunda, the Fair Nun of Winchester, inspires the King with a passion for her, and after a long struggle between honour and love, she at last yields to the tyrant, and for the sake of Canutus breaks her vestal vows. Upon hearing that the enemy was about to enter the [4] Cloister, Cartesmunda breaks out into the following beautiful exclamation:

When Canutus advances, and first sees Cartesmunda, his speech is poetical, and conceived in the true spirit of Tragedy.

In the same scene the following is extremely beautiful.

Thomas May,

A Poet and historian of the 17th century, was descended of an ancient, but decayed family in the county of Sussex, in the reign of Queen Elizabeth[1], and was educated a fellow commoner in Sidney Sussex College in Cambridge. He afterwards removed to London, and lived about the court, where he contracted friendships with several gentlemen of fashion and distinction, especially with Endymion Porter esquire, one of the gentlemen of the bedchamber to King Charles I. While he resided at court he wrote five plays, which are extant under his name. In 1622, he published at London, in 8vo. a translation of Virgil's Georgics with annotations; and in 1635, a Poem on King Edward III. It was printed under the title of the Victorious Reign of Edward III. written in seven books, by his Majesty's command. In the dedication to Charles I. our author writes thus; "I should humbly have craved your Majesty's pardon for my omission of the latter part of King Edward's reign, but that the sense of mine own defects hath put me in mind of a most necessary suit, so beg forgiveness for that part which is here written. Those great actions of Edward III. are the arguments of this poem, which is here [6] ended, where his fortune began to decline, where the French by revolts, and private practices regained that which had been won from them by eminent and famous victories; which times may afford fitter observations for an acute historian in prose, than strains of heighth for an heroic poem." The poem thus begins,

From the lines quoted, the reader will be able to judge what sort of versifier our author was, and from this beginning he has no great reason to expect an entertaining poem, especially as it is of the historical kind; and he who begins a poem thus insipidly, can never expect his readers to accompany him to the third page. May likewise translated Lucan's Pharsalia, which poem he continued down to the death of Julius Cæsar, both in Latin and English verse.

Dr. Fuller says, that some disgust was given to him at court, which alienated his affections from it, and determined him, in the civil wars to adhere to the Parliament.

Mr. Philips in his Theatrum Poetarum, observes, that he stood candidate with Sir William Davenant for the Laurel, and his ambition being frustrated, he conceived the most violent aversion to the King and Queen. Sir William Davenant, besides the acknowledged superiority of his abilities, had ever distinguished himself for loyalty, and was patronized and favoured by men of power, especially the Marquis of Newcastle: a circumstance which [7] we find not to have happened to May: it is true, they were both the friends of the amiable Endymion Porter, esq; but we are not informed whether that gentleman interested himself on either side.

In the year 1647, was published in London in folio, The History of the Parliament of England, which began November 3, 1640, with a Short and Necessary View of some precedent Years, written by Thomas May, Esq; Secretary to the Parliament, and published by their authority. In 1650 he published in 8vo. A Breviary of the History of the Parliament of England. Besides these works, Mr. Philips tells us, he wrote a History of Henry IV. in English verse, the Comedy of the Old Wives Tale, and the History of Orlando Furioso; but the latter, Mr. Langbaine, who is a higher authority than Philips, assures us was written before May was able to hold a pen, much less to write a play, being printed in 4to. London, 1594. Mr. Winstanley says, that in his history, he shews all the spleen of a mal-content, and had he been preferred to the Bays, as he happened to be disappointed, he would have embraced the Royal interest with as much zeal, as he did the republican: for a man who espouses a cause from spite only, can be depended upon by no party, because he acts not upon any principles of honour or conviction.

Our author died suddenly in the year 1652, and was interred near the tomb of Camden, on the West side of the North isle of Westminster Abbey, but his body, with several others, was dug up after the restoration, and buried in a pit in St. Margaret's church yard[2]. Mr. May's plays are,

1. Agrippina, Empress of Rome, a Tragedy, printed in 12mo. London, 1639. Our author has [8] followed Suetonius and Tacitus, and has translated and inserted above 30 lines from Petronius Arbiter; this circumstance we advance on the authority of Langbaine, whose extensive reading has furnished him with the means of tracing the plots of most part of our English plays; we have heard that there is a Tragedy on this subject, written by Mr. Gray of Cambridge, the author of the beautiful Elegy in a Country Church Yard; which play Mr. Garrick has sollicited him to bring upon the stage; to which the author has not yet consented.
2. Antigone, the Theban Princess, a Tragedy, printed in 8vo. London, 1631, and dedicated to Endymion Porter, Esq; Our author in the contexture of this Tragedy, has made use of the Antigone of Sophocles, and the Thebais of Seneca.
3. Cleopatra, Queen of Egypt, a Tragedy, acted 1626, and printed in 12mo. London, 1639, and dedicated to Sir Kenelme Digby: The author has followed the historians of those times. We have in our language two other plays upon the same subject, one by Shakespear, and the other by Dryden.
4. Heir, a Comedy, acted by the company of revels, 1620; this play is much commended by Mr. Thomas Carew, in a copy of verses prefixed to the play, where, amongst other commendations bestowed on the stile, and natural working up of the passions, he says thus of the oeconomy of the play.

   The whole plot doth alike itself disclose,
   Thro' the five Acts, as doth a lock, that goes
   With letters, for 'till every one be known,
   The lock's as fast, as if you had found none.

   [9] If this comedy, is no better than these wretched commendatory lines, it is miserable indeed.
5. Old Couple, a Comedy, printed in 4to; this play is intended to expose the vice of covetousness.

John Taylour, Water-Poet,

[10] Our Water-poet found leisure to write fourscore books, some of which occasioned diversion enough in their time, and were thought worthy to be collected in a folio volume. Mr. Wood observes, that had he had learning equal to his natural genius, which was excellent, he might have equalled, if not excelled, many who claim a great share in the temple of the muses. Upon breaking out of the rebellion, 1642, he left London, and retired to Oxford, where he was much esteemed for his facetious company; he kept a common victualling house there, and thought he did great service to the Royal cause, by writing Pasquils against the round-heads. After the garrison of Oxford surrendered, he retired to Westminster, kept a public house in Phænix Alley near Long Acre, and continued constant in his loyalty to the King; after whose death, he set up a sign over his door, of a mourning crown, but that proving offensive, he pulled it down, and hung up his own picture[1], under which were these words,

On the other side,

He died in the year 1654, aged 74, and was buried in the church yard of St. Paul's Covent-Garden; his nephew, a Painter at Oxford, who lived in Wood's time, informed him of this circumstance, who gave his picture to the school gallery there, where it now hangs, shewing [11] him to have had a quick and smart countenance. The following epitaph was written upon him,

William Habington,

Son of Thomas Habington, Esq; was born at Hendlip in Worcestershire, on the 4th of November 1605, and received his education at St. Omers and Paris, where he was earnestly pressed to take upon him the habit of a Jesuit; but that sort of life not suiting with his genius, he excused himself and left them[1]. After his return from Paris, he was instructed by his father in history, and other useful branches of literature, and became, says Wood, a very accomplished gentleman. This author has written,

1. Poems, 1683, in 8vo. under the title of Castara: they are divided into three parts under different titles, suitable to their subject. The first, which was written when he was courting his wife, Lucia, the beautiful daughter of William Lord Powis, is introduced by a character, written in prose, of a mistress. The second are copies to her after marriage, by the character of a wife; after which is a character of a friend, before several funeral elegies. The third part consists of divine poems, some of which are paraphrases on several texts out of Job, and the book of psalms.
2. [12] The Queen of Arragon, a Tragi-Comedy, which play he shewed to Philip Earl of Pembroke, who having a high opinion of it, caused it to be acted at court, and afterwards to be published, the contrary to the author's inclination.
3. Observations on History, Lond. 1641, 8vo.
4. History of Edward IV. Lond. 1640, in a thin folio, written and published at the desire of King Charles I. which in the opinion of some critics of that age, was too florid for history, and fell short of that calm dignity which is peculiar to a good historian, and which in our nation has never been more happily attained than by the great Earl of Clarendon and Bishop Burnet. During the civil war, Mr. Habington, according to Wood, temporized with those in power, and was not unknown to Oliver Cromwell; but there is no account of his being raised to any preferment during the Protector's government. He died the 30th of November, 1654.

We shall present the readers with the prologue to the Queen of Arragon, acted at Black-Fryars, as a specimen of this author's poetry.

Francis Goldsmith.

Was the son of Francis Goldsmith, of St. Giles in the Fields in Middlesex, Esq; was educated under Dr. Nicholas Grey, in Merchant-Taylor's School, became a gentleman commoner in Pembroke-College in the beginning of 1629, was soon after translated to St. John's College, and after he had taken a degree in arts, to Grey's-Inn, where he studied the common law several years, but other learning more[1]. Mr. Langbaine says, that he could recover no other memoirs of this gentleman, but that he lived in the reign of King Charles the First, and obliged the World with a translation of a play out of Latin called, Sophompaneas, or the History of Joseph, with Annotations, a Tragedy, printed 4to. Lond. 1640, and dedicated to the Right Hon. Henry Lord Marquis of Dorchester. This Drama was written by the admirable Hugo Grotius, published by him at Amsterdam 1635, and dedicated to Vossius, Professor of History and Civil Arts in [14] Amsterdam. He stiles it a Tragedy, notwithstanding it ends successfully, and quotes for his authority in so doing, Æschilus, Euripides, and even Vossius, in his own Art of Poetry. Some make it a Question, whether it be lawful to found a dramatic Poem on any sacred subject, and some people of tender consciences have murmured against this Play, and another of the same cast called Christ's Passion; but let us hear the opinion of Vossius himself, prefixed to this Play. "I am of opinion, (says he) it is better to chuse another argument than sacred. For it agrees not with the majesty of sacred things, to be made a play and a fable. It is also a work of very dangerous consequence, to mingle human inventions with things sacred; because the poet adds uncertainties of his own, sometimes falsities; which is not only to play with holy things, but also to graft in men's minds opinions, now and then false. These things have place, especially when we bring in God, or Christ speaking, or treating of the mysteries of religion. I will allow more where the history is taken out of the sacred scriptures; but yet in the nature of the argument is civil, as the action of David flying from his son Absolom; or of Joseph sold by his brethren, advanced by Pharaoh to the government of Egypt, and that dignity adored by, and made known unto his brethren. Of which argument is Sophompaneas, written by Hugo Grotius, embassador from the Queen of Sweden to the King of France; which tragedy, I suppose, may be set for a pattern to him, that would handle an argument from the holy scriptures." This is the opinion of Vossius, and with him all must agree who admire the truly admirable Samson Agonistes of Milton.

As we have frequently mentioned Grotius, the short account of so great a man, which is inserted in Langbaine, will not be unpleasing to the reader.

[15] "Hugo Grotius, says he, was an honour to his country: he was born in the year 1583, and will be famous to posterity, in regard of those many excellent pieces he has published. In some of his writings he defended Arminianism, for which he suffered imprisonment in the castle of Louverstein, in the year 1618; at which time his associate Barnevelt lost his head on the same account. Afterwards Grotius escaped out of prison, by means of Maria Reigersberg his wife, and fled into Flanders; and thence into France, where he was kindly received by Lewis XIII. He died at Rostock in Mecclebourg, Sept. 1, 1645. His life is written at large by Melchoir Adamus, in Latin."

As to our author's translation, which is in heroic verse, it is much commended by verses from four of his friends.

He also translated Grotius's consolatory oration to his father, with epitaphs; and also his Catechism into English verse.

Mr. Goldsmith died at Ashton in Northamptonshire, in September 1655, and was buried there, leaving behind him an only daughter named Katherine, afterwards the wife of Sir Henry Dacres.

John Cleveland,

Was the son of a vicar of Hinkley, in Leicestershire, where he was born, and received his grammatical education, under one Mr. Richard Vines, a zealous Puritan. After he had compleated his school education, he was sent to Christ's College in Cambridge, and in a short time distinguishing himself for his knowledge of the Latin tongue, and for Oratory, he was preferred to a fellowship in St. John's-College, in the said university. He continued there about nine years, and made during that time some successful attempts in poetry. At length, upon the eruption of the civil war, he was the first who espoused the Royal cause in verse, against the Presbyterians, who persecuted him in their turn with more solid severity; for he was ejected, as soon as the reins of power were in their hands. Dr. Fuller bestows upon our author the most lavish panegyric: He was (says he) a general artist, pure latinist, an exquisite orator, and what was his masterpiece, an eminent poet. Dr. Fuller thus characterizes him, but as Cleveland has not left remains behind him sufficient to convey to posterity so high an idea of his merit, it may be supposed that the Doctor spoke thus in his favour, meerly on account of their agreement in political principles. He addressed an oration, says Winstanley, to Charles I. who was so well pleased with it, that he sent for him, and gave him his hand to kiss, with great expressions of kindness. When Oliver Cromwell [17] was in election to be member for the town of Cambridge, as he engaged all his friends and interests to oppose it; so when it was carried but by one vote, he cried out with much passion, that, that single vote had ruined church and kingdom[1], such fatal events did he presage from the success of Oliver. Mr. Cleveland was no sooner forced from the College, by the prevalence of the Parliament's interest, but he betook himself to the camp, and particularly to Oxford the head quarters of it, as the most proper sphere for his wit, learning and loyalty. Here he began a paper war with the opposite party, and wrote some smart satires against the Rebels, especially the Scots. His poem called the Mixt Assembly; his character of a London Diurnal, and a Committee-man, are thought to contain the true spirit of satire, and a just representation of the general confusion of the times. From Oxford he went to the garrison of Newark, where he acted as judge advocate till that garrison was surrendered, and by an excellent temperature, of both, says Winstanley, he was a just and prudent judge for the King, and a faithful advocate for the Country.

Here he drew up a bantering answer and rejoinder to a Parliament officer, who had written to him on account of one Hill, that had deserted their side, and carried off with him to Newark, the sum of 133 l. and 8 d. We shall give part of Mr. Cleveland's answer to the officer's first letter, by which an estimate may be formed of the rest.

Sixthly Beloved!

"It is so, that our brother and fellow-labourer in the gospel, is start aside; then this may serve for an use of instruction, not to trust in man, or in the son of man. Did [18] not Demas leave Paul? Did not Onesimus run from his master Philemon? Also this should teach us to employ our talents, and not to lay them up in a napkin; had it been done among the cavaliers, it had been just, then the Israelite had spoiled the Egyptian; but for Simeón to plunder Levi, that—that, &c."

The garrison of Newark defended themselves with much courage and resolution against the besiegers, and did not surrender but by the King's special command, after he had thrown himself into the hands of the Scots; which action of his Majesty's Cleveland passionately resented, in his poem called, the King's Disguise: Upon some private intelligence, three days before the King reached them, he foresaw, that the army would be bribed to surrender him, in which he was not mistaken. As soon as this event took place, Cleveland, who warmly adhered to the regal party, was obliged to atone for his loyalty by languishing in a jail, at Yarmouth, where he remained for some time under all the disadvantages of poverty, and wretchedness: At last being quite spent with the severity of his confinement, he addressed Oliver Cromwell in a petition for liberty, in such pathetic and moving terms, that his heart was melted with the prisoner's expostulation, and he ordered him to be set at liberty. In this address, our author did not in the least violate his loyalty, for he made no concessions to Oliver, but only a representation of the hardships he suffered, without acknowledging his sovereignty, tho' not without flattering his power. Having thus obtained his liberty, he settled himself in Gray's-Inn, and as he owed his releasement to the Protector, he thought it his duty to be passive, and not at least to act against him: But Cleveland did not long enjoy his state of unenvied ease, for he was seized with an intermitting fever, and died the 29th of April, 1685.

[19] [2]On the first of May he was buried, and his dear friend Dr. John Pearson, afterwards lord bishop of Chester, preached his funeral sermon, and gave this reason, why he declined commending the deceased, "because such praising of him would not be adequate to the expectation of the audience, seeing some who knew him must think it far below him."—There were many who attempted to write elegies upon him, and several performances of this kind, in Latin and English, are prefixed to the edition of Cleveland's works, in verse and prose, printed in 8vo, in 1677, with his effigies prefixed.

From the verses of his called Smectymnuus, we shall give the following specimen, in which the reader will see he did not much excel in numbers.

The following lines from the author's celebrated satire, entitled, the Rebel-Scot, will yet more amply shew his turn for this species of poetry.

It is probable that this bitterness against our brethren of North-Britain, chiefly sprang from Mr. Cleveland's resentment of the Scots Army delivering up the King to the Parliament.

Dr. Barten Holyday,

Son of Thomas Holyday, a taylor, was born at All Saints parish, within the city of Oxford, about the latter end of Queen Elizabeth's reign; he was entered early into Christ Church, in the time of Dr, Ravis, his relation and patron, by [21] whom he was chosen student, and having taken his degrees of batchelor and master of arts, he became archdeacon of Oxfordshire. In 1615, he entered into holy orders[1], and was in a short time taken notice of as an eloquent or rather popular preacher, by which he had two benefices confered on him both in the diocese of Oxford.

In the year 1618 he went as chaplain to Sir Francis Stewart, when he accompanied to Spain the Count Gundamore, after he had continued several Years at our court as embassador, in which journey Holyday behaved in a facetious and pleasant manner, which ingratiated him in the favour of Gundamore[2].

Afterwards our author became chaplain to King Charles I. and succeeded Dr. Bridges in the archdeaconry of Oxon, before the year 1626. In 1642 he was by virtue of the letters of the said King, created, with several others, Dr. of divinity. When the rebellion broke out, he sheltered himself near Oxford; but when he saw the royal party decline so much that their cause was desperate, he began to tamper with the prevailing power; and upon Oliver Cromwell's being raised to the Protectorship, he so far coincided with the Usurper's interests, as to undergo the examination of the Friers, in order to be inducted into the rectory of Shilton in Berks, in the place of one Thomas Lawrence, ejected on account of his being non compos mentis. For which act he was much blamed and censured by his ancient friends the clergy, who adhered to the King, and who rather chose to live in poverty during the usurpation, than by a mean compliance with the times, betray the interest of the church, and the cause of their exiled sovereign.

[22] After the King's restoration he quitted the living he held under Cromwell, and returned to Eisley near Oxon, to live on his archdeaconry; and had he not acted a temporizing part it was said he might have been raised to a see, or some rich deanery. His poetry however, got him a name in those days, and he stood very fair for preferment; and his philosophy discovered in his book de Anima, and well languaged sermons, (says Wood) speaks him eminent in his generation, and shew him to have traced the rough parts, as well as the pleasant paths of poetry.

His works are,

1. Three Sermons, on the Passion, Resurrection, and Ascension of our Saviour, Lond. 1626.
2. Two Sermons at Paul's Cross.
3. A Sermon on the Nature of Faith.
4. Motives to a godly Life, in Ten Sermons, Oxon, 1657.
5. Four Sermons against Disloyalty, Oxon, 1661.

   Technogamia; or the Marriage of Arts, a Comedy, acted publicly in Christ's Church Hall, with no great applause 1617. But the Wits of those times being willing to distinguish themselves before the King, were resolved, with leave, to act the same comedy at Woodstock, whereupon (says Wood) the author making some foolish alterations in it, it was accordingly acted on Sunday night the 26th of August 1621, but it being too grave for the King, and too scholastic for the Audience, or as some said, that the actors in order to remove their timidity, had taken too much wine before, they began, his Majesty after two acts offered several times to withdraw; at length being persuaded by some of those who were near to him, to have patience till it was ended, lest the young men should be discouraged, he sat it out, tho' much against his will; [23] upon which these Verses were made by a certain scholar;

   At Christ Church Marriage done before the King
   Lest that those Mates should want an offering,
   The King himself did offer; what I pray?
   He offered twice or thrice to go away.

6. Survey of the World in Ten Books, a Poem, Oxon, 1661, which was judged by Scholars to be an inconsiderable piece, and by some not to be his. But being published just before his death, it was taken for a posthumous work, which had been composed by him in his younger Days[3].

   He translated out of Latin into English the Satires of Persius, Oxon. 1616, in apologizing for the defects of this work, he plays upon the word translate: To have committed no faults in this translation, says he, would have been to translate myself, and put off man. Wood calls this despicable pun, an elegant turn.

7. Satires of Juvenal illustrated with Notes, Oxon. folio 1673. At the end of which is the Fourth Edition of Persius, before mentioned.
8. Odes of Horace, Lond. 1652; this Translation Wood says, is so near that of Sir Thomas Hawkins, printed 1638, or that of Hawkins so near this, that to whom to ascribe it he is in doubt.

Dr. Holyday, who according to the same author was highly conceited of his own worth, especially in his younger Days, but who seems not to have much reason for being so, died at a Village called Eisley on the 2d day of October 1661, and was three days after buried at the foot of Bishop King's monument, under the south wall of the aisle joining on the south side to the choir of Christ Church Cathedral, near the remains of William Cartwright, and Jo. Gregory.